Peter Alexander Goehr (; born 10 August 1932) is an English composer and academic.

Goehr was born in Berlin in 1932, the son of the conductor and composer Walter Goehr, a pupil of Arnold Schoenberg. In his early twenties he emerged as a central figure in the Manchester School of post-war British composers. In 1955–56 he joined Olivier Messiaen's masterclass in Paris. Although in the early sixties Goehr was considered a leader of the avant-garde, his oblique attitude to modernism—and to any movement or school whatsoever—soon became evident. In a sequence of works including the Piano Trio (1966), the opera Arden Must Die (1966), the music-theatre piece Triptych (1968–70), the orchestral Metamorphosis/Dance (1974), and the String Quartet No. 3 (1975–76), Goehr's personal voice was revealed, arising from a highly individual use of the serial method and a fusion of elements from his double heritage of Schoenberg and Messiaen. Since the luminous 'white-note' Psalm IV setting of 1976, Goehr has urged a return to more traditional ways of composing, using familiar materials as objects of musical speculation, in contrast to the technological priorities of much present-day musical research.

Life and works

Youth and studies
Alexander Goehr was born on 10 August 1932 in Berlin, and his family moved to Britain when he was only a few months old. Alexander came from an extremely musical family: his mother Laelia was a classically trained pianist, and his father was a Schoenberg pupil and pioneering conductor of Schoenberg, Messiaen (he conducted the UK premiere of the Turangalîla Symphony in 1953) and Monteverdi. As a child, Alexander grew up in a household permanently populated by composers, including Mátyás Seiber and Michael Tippett. He also received lessons from a composer colleague of his father, Allan Gray.

Although these premises point all too clearly to Goehr's future as a composer, his efforts as a composer were not much encouraged by his father, and he initially intended to study classics at Oxford University, but went instead to study composition at the Royal Manchester College of Music, with Richard Hall.

In his composition classes Goehr became friends with young composers Peter Maxwell Davies and Harrison Birtwistle and pianist John Ogdon, with whom he founded the New Music Manchester Group. A seminal event in Goehr's development was hearing the UK premiere of Messiaen's Turangalîla Symphony, conducted by his father. The interest in non-Western music (for instance Indian raga) sparked by the meeting with Messiaen's music combined with the interest in medieval modes shared with Peter Maxwell Davies and Harrison Birtwistle largely influenced Goehr's first musical imaginings. His first acknowledged compositions date from these years: Songs for Babel (1951) and the Sonata for Piano, Op. 2, which was dedicated to the memory of Prokofiev, who had died that year.

In 1955, Goehr left Manchester to go to Paris and study with Messiaen, and he remained in Paris until October 1956. The music scene of Paris would make a great impression on Goehr, who became good friends with Pierre Boulez and was involved in the serialist avant-garde movement of those years. Goehr experimented with Boulez's technique of bloc sonore, particularly in his first String Quartet of 1956–57. Boulez was a sort of mentor to Goehr in the late fifties, programming his new compositions in his concerts at the Marigny Theatre in Paris.

It was not meant to last. Eventually Goehr's sensibility parted from Boulez's serialism. What disturbed Goehr was mainly his perception that by the mid-fifties, serialism had become a cult of stylistic purity, modelling itself on the twelve-tone works of Anton Webern. Reference to any other music was forbidden and despised, and spontaneous choice replaced with the combinatorial laws of serialism:

Choice, taste and style were dirty words; personal style, one could argue, is necessarily a product of repetition, and the removal of repetition is, or was believed to be, a cornerstone of classical serialism as defined by Webern's late works [...] All this may well be seen as a kind of negative style precept: a conscious elimination of sensuous, dramatic or expressive elements, indeed of everything that in the popular view constitutes music.

Return to the UK, 1956–76
Upon his return to Britain, Goehr experienced a breakthrough as a composer with the performance of his cantata The Deluge in 1957 under his father's baton. This is a big, ambitious work inspired by the writings of Sergei Eisenstein—one of Goehr's many extra-musical sources of inspiration. The soundworld could be seen to have derived from the twelve-tone cantatas of Webern, but it implicitly strives for the imposing harmonic tautness and full sonority of Prokofiev's Eisenstein cantatas. The genre of the cantata is one that Goehr would explore over and over again throughout his career.

Indeed, following the success of The Deluge, Goehr was commissioned a new cantata, Sutter's Gold for choir, baritone and orchestra. However, the new work proved highly unpopular particularly with the singers, who found it impossibly difficult to perform. Indeed, the difficulty of performance is one of the reasons why Sutter's Gold was dismissed by critics upon its performance at the Leeds festival in 1961. This débacle, however, had a constructive impact on Goehr: rather than dismissing criticism as the mere result of incompetence on the part of critics and performers, he genuinely faced the questions of the position of the avant-garde composer and his music:

If one wishes, one can just say that music has to be autonomous and self sufficient; but how to sustain such a view when people who sing for pleasure are deprived of true satisfaction in the performance of new work? [...] We can talk about music in terms of the ideas that inform it; we can talk about structure and techniques; we can talk about aesthetics or ethics or politics. But we have to remember that while all this, realistic or not, is of great importance to composers and to anyone who likes to follow what composers are doing, what is being discussed is not the music itself but the location of the music, the place where it exists.

Despite this, Goehr continued to compose choral works. Encouraged by his friendship with the choral conductor John Alldis, who was strongly committed to new music, Goehr composed his Two Choruses in 1962, which used for the first time the combination of modality and serialism which was to remain his main technical resource for the next 14 years.
His search for a model of serialism that could allow for expressive freedom led him to his famous Little Symphony, Op. 15 (1963). It is a memorial to Goehr's conductor/composer father, who had unexpectedly died, and it is based upon a chord-sequence subtly modelled upon (but not quoting) the "Catacombs" movement from Mussorgsky's Pictures at an Exhibition (Goehr senior had made a close harmonic analysis of this unusual movement).

This flexible approach to serialism, integrating harmonic background with bloc sonore and modality is very representative of the type of writing that Goehr developed as an alternative to the strictures of total serialism. It is no coincidence that Boulez—who had earlier facilitated the performance of Goehr's music—refused to programme Little Symphony: by 1963 Goehr had neatly departed from the style of his Parisian days.

The sixties saw Goehr founding the Wardour Castle Summer School in Wiltshire with Peter Maxwell Davies and Harrison Birtwistle in 1964, and most importantly, the beginning of Goehr's preoccupation with opera and music theatre. In 1966 he wrote his first opera, Arden Must Die (Arden Muss Sterben), a thoroughly Brechtian setting of a Jacobean morality play which had uncomfortably contemporary political and social resonances. Goehr's striking setting of a text composed by Erich Fried in rhyming duplets makes the most of the idea of simple musical ideas that are continually distorted to a sinister and sarcastic effect.

In 1967 he founded the Music Theatre Ensemble, and in 1971 he completed a three-part cycle for music theatre—Triptych—made up of three works: Naboth's Vineyard (1968) and Shadowplay (1970) were both explicitly written for Music Theatre Ensemble while the later Sonata about Jerusalem (1971) was commissioned by Testimonium, Jerusalem and performed by the Israel Chamber Orchestra and Gary Bertini.

The end of the sixties also saw the beginning of a string of prestigious academic appointments for Goehr. In 1968–9 he was composer-in-residence at the New England Conservatory of Music, Boston, and went on to teach at Yale University as an associate professor of music. Goehr returned to Britain as visiting lecturer at Southampton University (1970–71). In 1971 he was appointed West Riding Professor of Music at the University of Leeds. Goehr left Leeds in 1976 when he was appointed Professor of Music at Cambridge University where he taught until his retirement in 1999. In Cambridge he became fellow of Trinity Hall.

1976–96
The year of Goehr's appointment at Cambridge coincided with a turning point in his output. In 1976, Goehr wrote a 'white-note' setting of Psalm IV. The simple, bright modal sonority of this piece marked a final departure from post-war serialism and a commitment to a more transparent soundworld. Goehr found a way of controlling harmonic pace by fusing his own modal harmonic idiom with the long abandoned practice of figured bass—thus achieving a highly idiosyncratic fusion of past and present.

The output of the ensuing twenty years testified to Goehr's desire to use this new idiom to explore ideas and genres that had already become constant features of his work, such as the exploration of symphonic form: Goehr returned to symphonic form in his Sinfonia (1979) and Symphony with Chaconne (1987). Yet these years' output is disseminated most notably with a great number of ambitious vocal scores.

A common feature of many of the vocal compositions of these years is the choice of subjects that function as allegories for reflection upon socio-political themes. The Death of Moses (1992) uses Moses' angry refusal to die as an allegory for the destiny of the victims of the Holocaust; while the cantata Babylon the Great is Fallen (1979) and the opera Behold the Sun (1985)—for which Babylon the Great can be considered to be a sketch study—both explore the themes of violent revolution via the texts from the Anabaptist uprising in Münster of 1543. There are also non-political works such as the Sing, Ariel, that recalls Messiaen's stylised birdsong and sets a kaleidoscope of English poetry, and the opera Arianna (1995)—written on a Rinuccini libretto for L'Arianna, a lost opera by Monteverdi—is a typically idiosyncratic exploration of the soundworld of Italian Renaissance. Indeed, Goehr's engagement with Monteverdi's music dates back to the cantata The Death of Moses, which he described as "Monteverdi heard through Varèse". Arianna is also the piece that most overtly displays Goehr's intent to turn his reinvention of the past into a musical process that the audience can hear and identify:

The impression I aim to create is one of transparency: the listener should perceive, both in the successive and simultaneous dimensions of the score, the old beneath the new and the new arising from the old. We are to see a mythological and ancient action, interpreted by a 17th-century poet in a modern theatre.

1996–2014
Although the last fifteen years of Goehr's output have not received the generous coverage (both in terms of academic writing and frequency of performance) of his previous work, they arguably represent the most interesting of Goehr's compositional phases. This last decade's output is heralded by the striking opera Kantan and Damask Drum of 1999, premiered at the Dortmund Opera. This opera consists in fact of two plays from the Japanese Noh theatre tradition, separated by a short kyogen humorous interlude. Typically for Goehr, the Japanese texts date back to the 15th century and have been adapted by the composer for setting. The lusciously tonal idiom does not indulge in orientalism, but rather the relationship between music and drama in Noh animates the whole work. Again, with Kantan and Damask Drum the search continues for an expressive synthesis; in this case, it is one of western and eastern, past and present.

In the following years, Goehr devoted himself almost exclusively to chamber music. This is perhaps a response to the difficulties he experienced in the staging of his operas: the limited amount of financial support needed for a chamber music performance allows for music and performance venues that stray off the beaten path while allowing the composer more control over the quality of the performance.
Through the chamber music medium Goehr gains an unprecedented rhythmic and harmonic immediacy, while his music remains ever permeable by the music and imagery of other times and places: the Piano Quintet (2000) and the Fantasie for cello and piano (2005) are haunted by rich sonorities of a thoroughly Ravel-like quality.

The set of piano pieces Symmetry Disorders Reach (2007) is a barely disguised baroque suite haunted by the spirit of early Berg. Marching to Carcassonne (2003) flirts with neoclassicism and Stravinsky, and Manere for violin and clarinet (2008), based on a fragment of medieval plainchant, is a typical foray into the art of musical ornament. Also written in 2008 is Since Brass nor Stone for string quartet and percussion (2008), a memorial to Pavel Haas. Inspired by a Shakespeare sonnet, from which it borrows its title, this work is representative of the inventiveness of Goehr's recent chamber work. One reviewer described the soundworld of the work as 'hiccupping fugal patterns overlaid with intricate, delicate percussion [...] a magical garden of dappled textures'.

After an almost ten-year hiatus from the operatic medium, Goehr returned to the form with Promised End (2008–09), first performed by English Touring Opera in 2010 and based on Shakespeare's King Lear. In the same year came When Adam Fell, a BBC commission for orchestra based on the chromatic bass from the Bach chorale 'Durch Adam's Fall ist alles Verderbt', first introduced to Goehr by his teacher Olivier Messiaen. To These Dark Steps/The Fathers are Watching (2011–12), written for tenor, children's choir and ensemble, sets texts by Israeli poet Gabriel Levin concerning the bombing of Gaza during the Iraq war and was premiered in a concert marking Goehr's 80th birthday.

Largo Siciliano (2012) is a trio praised for its mastery of aural balance between the unusual combination of violin, horn and piano, 'from opening crepuscular melancholy to an ending which just seems to vanish into oblivion.' The chamber symphony ...between the lines... (2013), the latest commission in a long-standing relationship with Birmingham Contemporary Music Group, is a monothematic work of four movements played without a break, in direct acknowledgement of Arnold Schoenberg's own Chamber Symphony op. 9.

In 2004 Goehr was awarded an Honorary Doctorate of Music from Plymouth University.

Musical style

Eclecticism and synthesis
Many of Goehr's works are studies in the synthesis of disparate elements. Examples include The Deluge (1957–58), which was inspired by Eisenstein's notes for a film, itself based on a writing by Leonardo da Vinci. Other works' inspirations range from the formal proportions of a late Beethoven piano sonata (Metamorphosis/Dance, 1973-4) to a painting by Goya (Colossus or Panic, 1990), to the sinister humour of Bertolt Brecht (Arden Must Die, 1966) or to the Japanese Noh theatre (Kantan and Damask Drum, 1999).

Just as The Deluge takes its cue from an unfinished project (Eisenstein never finished the planned film), many of Goehr's works include a synthesis of fragments or unfinished projects left by other artists. The cantata The Death of Moses resonates with Schoenberg's unfinished Moses und Aron; the opera Arianna (1995) is the setting of the libretto of a lost opera by Monteverdi, and posthumously published prose fragments by Franz Kafka inspire or appear in Das Gesetz der Quadrille (1979), Sur terre en l'air (1997) and Schlussgesang (1990).

On a strictly technical musical level, Goehr's endeavour has long been that of unifying the contrapuntal rigour and motivic workings of the First Viennese School and Second Viennese School with a strong sense of harmonic pacing and sonority. It is indicative that Goehr should go to Paris not only to attend the classes of Messiaen at the Paris Conservatoire, but also to study counterpoint and serialism with Schoenberg scholar and composer Max Deutsch; even more indicative is the anecdote that Deutsch threw Goehr out of his house upon hearing that the young man intended to study with Messiaen as well as with him. Goehr's indebtedness to Messiaen is very strong, as is apparent in Goehr's lifelong commitment to modality as an integration to both serialism and to tonality, as well as his often bird-song inspired melodic writing, particularly in the cantata Sing, Ariel.

Engagement with the past
Goehr's interest in the musical past is far from an empty mannerism or a sign of musical conservatism, but rather an earnest, and constantly renewed exploration of his own musical roots. The music of the past does not hinder, in Goehr's view, the search for an innovative musical language:
In the composer's mind, vague memories fuse and grow into a new, conscious, creative idea. An artist is related to the tradition from which he comes, and this bond has little to do with time or progress.

This attitude is concisely expressed by Goehr's striking assertion that "all art is new and all art is conservative". Understood in this way, his musical imagination of the past can be traced to three fundamental sources:

Walter Goehr
Although Goehr's personal relationship to his father was not unproblematic, Walter Goehr had a determining influence on his son via his work as a conductor: the composers whose work Walter championed—Arnold Schoenberg, Claudio Monteverdi, Modest Mussorgsky, Olivier Messiaen—feature as a red-thread throughout Alexander's output. For instance, Goehr's Arianna uses the libretto of a lost opera by Monteverdi, Arianna abbandonata, and conjures up sonorities reminiscent of the Italian Renaissance. The quintet Five Objects Darkly (whose title is borrowed from a work by the painter Giorgio Morandi is a set of variations based on a musical fragment by Mussorgsky, and the earlier Little Symphony uses the chordal structure of Mussorgsky's Catacombs from Pictures at an Exhibition as a harmonic backbone.

Early twentieth-century modernist composers
Walter Goehr had studied with Schoenberg and was constantly surrounded by high calibre composers such as Seiber, Tippett, and others. Goehr's strong sense of debt to this generation, particularly to Schoenberg, had a lot to do with his ambivalent reaction to the Darmstadt School avant-garde of the fifties (in which his friend and mentor Pierre Boulez was heavily involved).

Music of the baroque and classical tradition
Goehr's interest in these musics is surely part of his Schoenbergian heritage. Just like Schoenberg, Goehr refuses to view current composition as a practice that is independent of any musical tradition, but rather, he seeks in tradition the elements for the innovation of musical language. Alexander's search for a means of controlling structure and harmony in music led him in the late seventies to an innovating interpretation of the late baroque practice of figured bass in conjunction with his personal blend of modality and serialism. This is exemplified in his setting of Psalm IV and the ensuing correlated works: Fugue and Romanza on the notes of the fourth Psalm (1976 and 1977, respectively). Goehr is also committed to the reinvention of classical forms such as the Symphony, the classical Concerto, and the Baroque Suite (from his Suite Op. 11 of 1961 right up to Symmetry Disorders Reach of 2007). Further sources of inspiration are the treatises on musical ornamentation by Carl Philip Emanuel Bach, and Monteverdi, whose synthesis of renaissance polyphony with the early baroque move towards homophony and the control of harmony clearly mirrors Goehr's own commitment to a harmonically expressive serialist practice.

Work list

Chronology
 1951: Songs of Babel
 1952: Sonata for piano, Op. 2
 1954: Fantasias for clarinet and piano, Op. 3
 1957: Capriccio for piano, Op. 6
 1957-8: The Deluge, Op. 7
 1959: Variations for flute and piano, Op. 8; Four Songs from the Japanese, Op. 9; Sutter's Gold, Op. 10
 1956–57: String Quartet No. 1
 1959–61: Hecuba's Lament, Op. 12
 1961: Suite, Op. 11
 1961–62: Violin Concerto, Op. 13
 1962: Two Choruses, Op. 14
 1963: Virtutes, a cycle of nine songs and melodramas; Little Symphony, Op. 15; Little Music for Strings, Op. 16
 1964: Five Poems and an Epigram of William Blake, Op. 17; Three Pieces for Piano, Op. 18
 1965: Pastorals, Op. 19
 1966: Piano Trio, Op. 20; Arden Must Die (Opera), Op. 21
 1966–67: Warngedichte (for mezzo-soprano and piano), Op. 22
 1967: Three Pieces from Arden Must Die, Op. 21a; String Quartet No. 2, Op. 23
 1968: Romanza for cello and orchestra, Op. 24; Naboth's Vineyard, Op. 25
 1969: Konzertstück, Op. 26; Nonomiya, Op. 27; Paraphrase for clarinet, Op. 28; Symphony in One Movement, Op. 29
 1970: Shadowplay, Op. 30; Concerto for Eleven, Op. 32
 1971: Sonata about Jerusalem, Op. 31
 1972: Piano Concerto, Op. 33
 1973–74: Chaconne for Wind, Op. 34
 1974: Lyric Pieces, Op. 35; Metamorphosis/Dance, Op. 36
 1976: String Quartet No. 3, Op. 37; Psalm IV, Op. 38a; Fugue on the Notes of Psalm IV, Op. 38b
 1977: Romanza on the Notes of Psalm IV, Op. 38c
 1979: Babylon the Great is Fallen (cantata), Op. 40; Chaconne for organ, Op. 34a; Das Gesetz der Quadrille, Op. 41; Sinfonia, Op. 42
 1981: Deux Etudes, Op. 43; Behold the Sun (dramatic scena), Op. 44a
 1984: Sonata for cello and piano, Op. 45
 1985: Behold the Sun (opera); ...a musical offering (J.S.B. 1985)..., Op. 46; Two Imitations of Baudelaire, Op. 47
 1986: Symphony with Chaconne, Op. 48
 1988: Eve Dreams in Paradise, Op. 49; ...in real time, Op. 50
 1990: Sing Ariel, Op. 51; String Quartet No. 4, Op. 52
 1992: The Death of Moses (cantata), Op. 53; Colossus or Panic for orchestra, Op. 55
 1993: The mouse metamorphosed into a maid for unaccompanied voice, Op. 54
 1995: Arianna, Op. 58
 1996: Schlussgesang for orchestra, Op. 61; Quintet Five objects Darkly, Op. 62
 1996: Three Songs, Op. 60
 1997: Idées Fixes for ensemble, Op. 63; Sur terre, en l'air, Op. 64
 1999: Kantan and Damask Drum
 2000: Piano Quintet, Op. 69; Suite, Op. 70
 2002: ...a second musical offering, Op. 71; ...around Stravinsky, Op. 72; Symmetry Disorders Reach for piano, Op. 73
 2003: Marching to Carcassonne, Op. 74; Adagio (Autoporträt), Op. 75
 2004: Dark Days, Op. 76
 2005: Fantasie, Op. 77
 2006: Broken Lute, Op. 78
 2008: Since Brass, nor Stone..., fantasy for string quartet and percussion, Op. 80; Manere, duo for clarinet and violin, Op. 81; Overture for ensemble, Op. 82
 2008–09: Promised End, opera in twenty-four preludes (scenes) to words from Shakespeare's King Lear, Op. 83
 2009: Broken Psalm for mixed choir (SATB) and organ, Op. 84
 2010: Turmmusik (Tower Music) for two clarinets, brass and strings with baritone solo, Op. 85
 2011: When Adam Fell for orchestra, Op. 89
 2011–12: To These Dark Steps / The Fathers are Watching for tenor, children's choir and ensemble, Op. 90
 2013: ... between the Lines Chamber symphony for eleven players, Op. 94
 2014–15: Verschwindendes Wort for mezzo-soprano, tenor and ensemble, Op. 97
 2015–16: Two Sarabands for orchestra, Op. 98
 2016: The Master Said for narrator and chamber orchestra, Op. 99
 2018: Vision of the Soldier Er (String Quartet No. 5) for string quartet, Op. 102

Suggested work list by genre

Chamber
 Suite, Op. 11
 String Quartet No. 2, Op. 23
 String Quartet No. 3, Op. 37
 ...a musical offering (J.S.B. 1985)..., Op. 46
 Quintet Five objects Darkly, Op. 62
 Idées Fixes for ensemble, Op. 63
 Since Brass, nor Stone..., fantasy for string quartet and percussion, Op. 80

Vocal
 The Deluge (cantata), Op. 7
 Psalm IV, Op. 38a
 Das Gesetz der Quadrille, Op. 41
 Sing Ariel (cantata), Op. 51
 The Death of Moses (cantata), Op. 53
 Three Songs, Op. 60

Orchestral
 Little Symphony, Op. 15
 Symphony in One Movement, Op. 29
 Metamorphosis/Dance, Op. 36
 Sinfonia, Op. 42
 Symphony with Chaconne, Op. 48
 Colossos or Panic, Op. 55
 Schlussgesang, Op. 61

Opera
 Arden Must Die
 Behold the Sun
 Arianna, Op. 58
 Kantan and Damask Drum
 Promised End

Discography
Schott Music provides a full discography by work: Goehr discography

Writings
 "The Theoretical Writings of Arnold Schoenberg". Proceedings of the Royal Musical Association vol. 100 (1973–74), 85–96.
 Musical Ideas and Ideas about Music (London, 1978).
 Finding the Key: Selected Writings of Alexander Goehr', ed. D. Puffett' (London: Faber and Faber, 1998).
 'Schoenberg and Karl Kraus: The Idea behind the Music' [University of Southampton lecture, 1983]. Music Analysis vol. 4 (March–July 1985), 59–71.
 'The Composer and His Idea of Theory: A Dialogue'. Music Analysis vol. 11, No. 2-3 (July October 1992), 143–175.

Broadcasting
In 1987 the BBC invited Goehr to present the Reith Lectures. In a series of six lectures, titled The Survival of the Symphony he traces the importance of the symphony, and its apparent fall from grace in the 20th century.

Notable students

Notes

References
Goehr, Alexander. 1998. Finding the Key: Selected Writings of Alexander Goehr, edited by Derrick Puffett. London and Boston: Faber and Faber.
Latham, Alison (ed.). 2003. Sing, Ariel: Essays and Thoughts for Alexander Goehr's Seventieth Birthday. With compact disc. Aldershot, England; Burlington, VT: Ashgate.
Williams, Nicholas. 2001. "Goehr (2): (Peter) Alexander Goehr". The New Grove Dictionary of Music and Musicians'', ed. S. Sadie and J. Tyrrell. London: Macmillan.

External links
Alexander Goehr page on Schott music publishers' website
Alexander Goehr – Stageworks / Opera and Music Theatre Archive
Alexander Goehr page  on LoganArts Management's website

1932 births
Living people
Jewish emigrants from Nazi Germany to the United Kingdom
People educated at Berkhamsted School
Fellows of Trinity Hall, Cambridge
Alumni of the Royal Northern College of Music
Pupils of Arnold Schoenberg
20th-century classical composers
21st-century classical composers
English classical composers
English opera composers
Male opera composers
Jewish classical composers
Honorary Members of the Royal Academy of Music
Academics of the University of Leeds
Alumni of the Royal Manchester College of Music
English male classical composers
20th-century English musicians
21st-century English musicians
Members of the University of Cambridge Faculty of Music
20th-century British composers
21st-century British composers
20th-century British male musicians
21st-century British male musicians
Professors of Music (Cambridge)

Alexander Goehr


În geometrie și algebra liniară, o axă principală este o anumită dreaptă dintr-un spațiu euclidian asociată cu un elipsoid sau hiperboloid, generalizând axele majore și minore ale unei elipse. Teorema axei principale afirmă că axele principale sunt perpendiculare, și oferă o procedură constructivă pentru identificarea lor.

Matematic, teorema axei principale este o generalizare a metodei de completare a pătratului din algebra elementară. În algebra liniară și analiza funcțională, teorema axei principale este o contrapartidă geometrică a teoremei spectrale. Ea are aplicații în statisticile de analiză a componentelor principale și în descompunerea valorii singulare. În fizică teorema este fundamentală pentru studiul momentului cinetic.

Motivație
Ecuațiile în planul cartezian R2:

 definesc, respectiv, o elipsă și o hiperbolă. În fiecare caz, axele x și y sunt axele principale. Acest lucru este ușor de văzut, dat fiind faptul că nu există  termeni încrucișați care implică produse xy în oricare expresie. Cu toate acestea, situația este mult mai complicată pentru ecuații ca

Aici o metodă este necesară pentru a determina dacă aceasta este o elipsă sau o hiperbolă. Observația de bază este că dacă, prin completarea pătratului, expresia poate fi redusă la o sumă de două pătrate atunci definește o elipsă, în timp ce dacă se reduce la o diferență de două pătrate atunci este ecuația unei hiperbole :
      (elipsă)
      (hiperbolă)
 Astfel, în  expresia noastră exemplu, problema este cum să absoarbă coeficientul termenului 8xy  încrucișat în funcțiile u și v. Formal, această problemă este similară cu problema de diagonalizarea a matricei, unde se încearcă să se găsească un sistem adecvat de coordonate în care matricea unei transformări liniare e diagonală. Primul pas este de a găsi o matrice în care poate fi aplicată tehnica de diagonalizare.

Trucul este de a scrie ecuația în următoarea formă:

unde termenul încrucișat  a fost împărțit în două părți egale. Matricea A din descompunerea de mai sus este o matrice simetrică. În special, prin teorema spectrală, are valori proprii reale și este diagonalizabilă de o matrice ortogonală (ortogonal diagonalizabilă).

Pentru a diagonaliza ortogonal matricea A, trebuie să găsească mai întâi valorile sale proprii, și apoi o bază ortonormată. Calculul arată că valorile proprii ale lui A sunt

cu vectorii proprii corespunzători

Împărțind acestea prin lungimea lor, se produce o bază ortonormală :

Acum matricea S = [ u1 u2 ] este o matrice ortogonală, deoarece are coloane ortonormate, iar A este diagonalizată de:

Acest lucru este valabil cu prezenta problemă " diagonalizarea " ecuației prin observația că

Astfel, ecuația este aceea a unei elipse, deoarece este suma a două pătrate.

Este tentant pentru a simplifica această expresie trăgând factori de 2. Cu toate acestea, este important să nu se facă acest lucru. Cantitățile

au o semnificație geometrică. Ele determină un sistem ortonormat de coordonate pe R2. Cu alte cuvinte, ele sunt obținute din coordonatele inițiale prin aplicarea unei rotații (și, eventual, o reflexie). Prin urmare, se poate folosi C1 și C2 coordonatele să facă declarații cu privire la lungime și unghiuri (mai ales lungime), care altfel ar fi mult mai dificil într-o gamă diferită de coordonate (prin redimensionarea lor, de exemplu). De exemplu, distanța maximă de la origine pe elipsa C12 + 9c22 = 1 se produce atunci când c2 = 0 , astfel încât la punctele C1 = ±1 . Similar, distanța minimă este unde c2 = ±1/3 .

Este posibil acum să citească de pe axele majore și minore ale acestei elipse. Acestea sunt exact valorile individuale ale matricei A , deoarece acestea sunt în cazul în care c2 = 0 sau c1 = 0 . Simbolic, axele principale sunt

Rezumat:
 Ecuația este pentru o elipsă, deoarece ambele valori proprii sunt pozitive. (În caz contrar, în cazul în care unul ar fi fost pozitiv, iar celălalt negativ, ar fi o hiperbolă).
 Axele principale sunt liniile acoperite de vectorii proprii.
 Distanțele minime și maxime la origine poate fi citite de ecuația în formă diagonală.
Folosind această informație, este posibil să se atingă o imagine geometrică clară a elipsei : pentru a-l desena, de exemplu.

Bibliografie

Axei

Teorema axei principale


İbrahim Necdet Ayral (6 Ağustos 1908, İstanbul - 5 Haziran 2004, İstanbul), Türk tiyatro ve sinema oyuncusu, tiyatro yönetmeni, seslendirme sanatçısıdır.

Hayatı
Paşabahçe, Beykoz'da doğmuştur. Babası Miralay (Albay) ve şair Mehmet Mahti Bey, annesi Fatma Masadet Hanım'dır.

Avusturya Lisesi'nin ilkokul bölümüne 40 gün gitmiş, 1. Dünya Savaşı'nın başlamasıyla yarıda bırakmıştır. 1919'da Galatasaray Sultanisi'ne yatılı olarak verilir. Ancak 1923'te babası öldükten sonra okulun ücretini ödeyemediklerinden, son sınıfa gelmeden, 6. sınıftan ayrılmak zorunda kalır.

Deutsche Orient Bank'ın muhasebe bölümünde işe girer, orada 1927'de tanıştığı Hélène ile evlenir, eşi vefat edene kadar 52 yıl evli kalırlar.

Sahneye ilk adımını Cem Karaca'nın babası Mehmet Karaca ile birlikte 24 Eylül 1932'de Darülbedayi'de 7 Köyün Zeynebi oyunuyla atar. O yıllarda piyesler en fazla birer hafta oynamaktaydı.

İstanbul Şehir Tiyatroları'nda Lüküs Hayat, Kral Lear, Deli Dolu, Fizikçiler, Bir Komiser Geldi, Cyrano de Bergerac ve Tartuffe gibi oyunlarda unutulmaz kompozisyonlar yarattı.

1950-75 yılları arasında İtalyanlar'ın ünlü komedyeni Toto'yu konuşarak, dublaj sanatında da ustalığını gösterdi.

İstanbul Şehir Tiyatroları'nın dergilerinde yazılar yazmıştır. Çocuk bölümünde de oyunlar sahnelemiştir. 3 Ağustos 1968'de İstanbul Şehir Tiyatroları tarafından 36. San'at Yılı için Ayral'a bir jübile düzenlenmiştir. Jübileye İsmail Galip Arcan, İsmail Dümbüllü, Münir Nurettin Selçuk, Perihan Altındağ Sözeri, Zâti Sungur, İhsan Devrim, Necdet Yakın, Tevfik İnce ve arkadaşları katılmıştır. Jübileden sonra da Şehir Tiyatroları'nda oynamaya devam etmiştir.

Yönettiği oyunlar dışında, 275 oyunda, 170 filmde oynadığını belirtmişti. Ayral, 22. İzmir Tiyatro Günleri kapsamında 30 Mart 2004'te gerçekleştirilen "Tiyatroda Geçen Yıllar" konulu söyleşide şunu söylemişti: "Maalesef, memlekette hala sanata kıymet verilmiyor. İşte misali... Benim ne evim var, ne param. Halbuki sahneye, sanata, 71 sene verdim. Başka memleketlerde sanatta 70 sene çalışmış kimseye bir hükümdar gibi geceler yaparlar, tebrikler yaparlar, hediyeler verirler, neşe günleri yaparlar. Bizde, kimse farkında değil. İşte memlekette sanata verilen kıymet."

1963'te Alain Robbe-Grillet'in "L'immortelle" ve Elia Kazan'ın "America America" filmlerinin İstanbul çekimlerinde rol aldı.

1998'de 10. Ankara Film Festivali'nde Aziz Nesin Emek Ödülü verildi.

Ölümünden önceki dönemde dünyanın bilinen en yaşlı aktörleri arasındaydı. Ayrıca tiyatro sanatçısı Jeyan Mahfi Ayral Tözüm'ün babasıdır.

2004 yılında yaşamını yitiren sanatçının kabri Zincirlikuyu Mezarlığı'ndadır.

Tiyatro oyunları

 7 Köyün Zeynebi/Rose Bernd - 1932 - Figüran bir köylü - Gerhart Hauptmann, Çeviren: Seniha Bedri
Blöf - 1932-33
Mucize - 1932-33
Bir Ölü Evi - 1932-33
Üç  Saat - 1932-33 - Operet
Sarı Zeybek - 1932-33 - Operet
Mum Söndü - 1932-33
Şaka - 1932-33
Büyük İkramiye - 1932-33 - Operet
Peer Gynt - 1933-34 ve 1956-57 - Henrik İbsen
Gül ve Gönül - 1933-34
Anna Kristi - 1933-34
Lüküs Hayat - 1933-34 - Operet - İrfan - Cemal Reşit Rey & Ekrem Reşit Rey
On Yılın Destanı - 1933-34
Zehirli Kucak - 1933-34 - Rahip
Kurtlar - 1933-34
İstanbul Efendisi - 1933-34 - Operet - Terzi Agop - Musahipzade Celal
Köksüzler - 1933-34
Yarasa - 1934-35 - Operet - Dr. Falke - Johann Strauss
Unutulan Adam - 1934-35 - Nâzım Hikmet
Balaban Ağa - 1934-35
Hamlet - 1934-35 - William Shakespeare
Deli Dolu - 1934-35 - Operet - David - Cemal Reşit Rey & Ekrem Reşit Rey
İnsanlık Komedisi - 1934-35
Bir Kavuk Devrildi - 1934-35 ve 1951-52 - Musahipzade Celal
Müfettiş - 1934-35 - Peter İvanoviç Dobçinsky - Gogol
Ölçüye Ölçü - 1935-36
Tohum - 1935-36
İlk Tiyatro Dersi - 1935-36 - Çocuk oyunu
Saz-Caz - 1935-36 - Operet - Cemal Reşit Rey & Ekrem Reşit Rey
Karamazoff Kardeşler - 1935-36
Mırnav - 1935-36 - Operet
Gülmeyen Çocuk - 1935-36 - Çocuk oyunu
Beyaz Gömlekliler - 1935-36
Aynaroz Kadısı - 1935-36 - Hezargrâdi Dehri - Musahipzade Celal
Faust - 1935-36 ve 1949-50
Bir Kadının Hayatı - 1936-37
Macbeth - 1936-37 ve 1961-62
Fatmacık - Çocuk oyunu - 1936-37
Ayak Takımı Arasında - 1936-37
Yaban Ördeği - 1936-37
Kral Lear - 1936-37 - Soytarı - William Shakespeare
Aman Hanım Sus - 1936-37
Büyük Hala - 1936-37
Ölüm Karşısında - 1936-37
Sürtük - 1937-38
Yumurcak - 1937-38 - Ahmed Dilara
Süt Kardeşler - 1937-38
Kuru Gürültü - 1937-38
La Fontaine Baba - 1937-38 - Çocuk oyunu
Turandot - 1937-38
İntikam Maçı - 1937-38
Erkek ve Hayaletleri - 1937-38
Dalga - 1937-38
Fidanaki - 1937-38
Mavi Boncuk - 1937-38 - Çocuk oyunu
At Martini - 1937-38
Toka - 1937-38
Satılık Kiralık - 1937-38
Yanlışlıklar Komedyası - 1938-39
Kan Kardeşler - 1938-39
Windsor'un Şen Kadınları - 1938-39 - Pistal - William Shakespeare
Haydutlar - 1938-39 - Rasman - Friedrich von Schiller
Anna Karenin - 1938-39 - Kampanetti
Dama Çıkmış Bir Güzel - 1938-39
Bir Muhasib Aranıyor - 1938-39
Çifte Keramet - 1938-39 ve 1955-56
Romeo ve Jülyet - 1939-40
Haydutlar Arasında - 1939-40 ve 1951-52
Yelpaze - 1939-40
Hayat Bir Rüyadır - 1939-40 - Claren
Efe Ali - 1939-40 - Çocuk oyunu
O Kadın - 1939-40 - Macid
Aptal - 1939-40
Bir Ana - 1940-41
Dadı - 1940-41
Çizmeli Kedi - 1940-41 - Çocuk oyunu
Kiralık Odalar - 1940-41
İmralının İnsanları - 1940-41
Meşaleler - 1940-41
Kibarlık Budalası - 1941-42- Müzik hocası - Molière
Merdivende Bir Işık - 1941-42
Zamane Şıkları - 1941-42
Meraki - 1941-42
Ayyar Hamza - 1941-42
Mavi Gözlük - 1941-42 - Çocuk oyunu
Boks Şampiyonu - 1941-42 ve 1943-44 - Ali Yavuz
Sabr-ü Sebat - 1941-42
İşçi Kız - 1941-42
Kış Masalı - 1942-43 - William Shakespeare
Yalancı - 1942-43
Asrileşen Baba - 1942-43 ve 1944-45
Işıksız Baba - 1942-43 - Çocuk oyunu
Nuh - 1942-43
Ye Kürdüm Ye - 1942-43
İflas - 1942-43
Hep Bir Yolun Yolcusu - 1942-43
Kapı Yoldaşları - 1942-43
Kurbağalar - 1942-43
Don Karlos - 1942-43 - Kartreuz baş rahibi ve Don Ludwig Merkado - Friedrich von Schiller
Büyük Şehir - 1942-43
Nasıl Hoşunuza Giderse - 1943-44
İki Efendinin Uşağı - 1943-44
Şeytan - 1943-44 - Çocuk oyunu
İstiklâl - 1943-44
Kara Sevda - 1943-44
Sözünün Eri - 1943-44
Cimri - 1943-44 - La Fleche - Molière
Ayarsızlar - 1943-44
Atinalı Timon - 1944-45
Ben Çalmadım - 1944-45 - Çocuk oyunu - Fikret
Doktorun Hatası - 1944-45
Düğün Gecesi - 1944-45
Ben Değilim - 1944-45 - Themos
Yukarı Köşk - 1944-45
Her Şeyden Biraz - 1944-45 - Çocuk Opereti - Oyuncakçı - Sabih Gözen - Sahneye koyan: Celal Balkır
Casuslar - 1944-45
Hacı Kaptan - 1944-45 - Levi
İki Efendinin Uşağı - 1944-45
Memişin Rüyası - 1945-46 - Çocuk oyunu - Memiş - Neşet Berküren - Sahneye koyan: Necdet Mahfi Ayral
Söylemeli Mi? - 1945-46 - Albert Fragil - Eugène Labiche, A. Duru - Sahneye koyan: İ. Galip Arcan
Cyrano de Bergerac - 1945-1946 - Ligniere ve Keşiş - Edmond Rostand - Sahneye koyan: İ. Galip Arcan
Dev Aynası -1945-46
Küçük Şehir - 1945-46 - Karabet Gümüşyan - Cevat Fehmi Başkut
Hava Parası - 1945-46 - Rasim Pakar ve Temel - İ. Galip Arcan
Dedikoducular - 1946-47
Ceza Kanunu - 1946-47 - Arif Urfi - İbn-ür Refik Ahmet Nuri - Sahneye koyan: Vasfi Rıza Zobu
Allahın Cezası - 1946-47
Koca Bebek - 1946-47 - Cevat Fehmi Başkut
Kral Oidipus - 1946-47 - Sofokles
Les Plus Beaux Yeux du Monde (Dünyanın En Güzel Gözleri) - 1947 - Arthur - Jean Sarment - Fransızca olarak oynadığı piyes
Köşebaşı - 1947-48
İnsanlar Arasında - 1947-48
Antonius ve Kleopatra - 1948-49
Ruy Blas - 1948-49
Parmaksız Salih - 1948-49
Olan Oldu - 1948-49 - Naylon - Ekrem Reşit Rey - Sahneye koyan: Ekrem Reşit Rey
Brand - 1948-49

Oyun İçinde Oyun - 1948-49 - Firuz bey - Oktay Rıfat - Sahneye koyan: İ. Galip Arcan
O Böyle İstemezdi - 1949 - Koca - Ahmet Muhip Dıranas - Sahneye koyan: Sâmi Ayanoğlu
Artist Aranıyor - 1949 - Çocuk Opereti - Hamza - Kadri Ögelman - Sahneye koyan: Necdet Mahfi Ayral
Faust - 1949-50
Bebek - 1949-50 - Kaya Alp Tonton - Maurice Braddell, Anita Hart - Sahneye koyan: Mahmut Moralı
Tebeşir Dairesi - 1949-50 Klabund (Alfred Henschke)
Deli Saraylı - 1949-50
Kaatil - 1949-50
Don Juan - 1950-51
Dilsizlerin Dili - 1950-51
Hep ve Hiç - 1950-51
Eski Şarkı - 1950-51
Yürü Ya Kulum - 1950-51 - Şemseddin Ay - Ernst Bach, Franz Arnold - Sahneye koyan: Vasfi Rıza Zobu
Hava Parası - 1950-51 - İ. Galip Arcan
Bir Komiser Geldi - 1950-51 - Komiser - John Boynton Priestley - Sahneye koyan: Muhsin Ertuğrul
Koca Bebek - 1951 - Bob Stil Hasan - Cevat Fehmi Başkut - Sahneye koyan: H. Kemal Gürmen
Tebeşir Dairesi - 1951 - 1. Kuli - Klabund (Alfred Henschke) - Sahneye koyan: H. Kemal Gürmen
Bir Gemim Var - 1951-52
Ahretten Selam - 1951-52
Pembe Evin Kaderi - 1951-52
Dimyata Giderken - 1951-52
Fırtına - 1952-53 - Trinculo
Ahududu - 1952-53 - Deli Haydar Paşa - Joseph Kesselring
Kadıköy İskelesi - 1952-53
Bugün Pazar - 1952-53
Yavru Kartal - 1953-54
Bu Akşam Semerkant'ta - 1953-54 - Chouquet - Jacques Deval
Her Şeye Rağmen - 1953-54
Sokakta - 1953-54
Bir Yaz Gecesi Rüyası - 1953-54
Veronalı İki Centilmen - 1954-55 - Speed - William Shakespeare
Beyaz Güvercin - 1954-55 - Sevgili Şairim - Ekrem Reşit Rey
Figaro'nun Düğünü - 1954-55 - Figaro
Hile ve Sevgi - 1954-55 - General von Kalb - Friedrich von Schiller
Buzdolabı - 1955-56 - Nuri - Antan Özer
Tanrıdağı Ziyafeti - 1956-57
Benim Üç Meleğim - 1956-57
Halanın Mirası - 1956-57
Üvey Babam - 1956-57 ve 1957-58
Kahvehane - 1957-58 - Don Marzio - Carlo Goldoni
Ölüler Vergi Ödemez - 1957-58 - Nikola Mançari
Aşka Susamışlardı - 1957-58
Cyrano de Bergerac - 1958-1959 - Raguemoau - Edmond Rostand
Dört Albayın Aşkı - 1958-59
Ne Umurum - 1958-59
94 Nolu Kadın - 1959-60
Deli - 1959-60
Edebiyat Mükâfatı - 1959-60 - Delalande - Robert Dhéry
Çılgın Dünya - 1960-61
Büyük Çınar - 1960-61
Tuzak - 1960-61 - Serseri ressam - R. Thomas
Çöpçatan - 1961-62
Pusuda - 1961-62 - Yılanoğlu - Cahit Atay
Selma - 1961-62 - Sâib - Musahipzade Celal
Cendere - 1961-62
Güneş Batarken - 1962-63 - Gerhart Hauptmann
Fizikçiler - 1962-63 - Isaac Newton - Friedrich Dürrenmatt
Parisli Kız - 1963-64 - Turhan Selek - İ. Galip Arcan
Tartuffe - 1964-65 - Cleante - Molière
Pazartesi-Perşembe - 1964-65 - Mişon Eskenazi - Musahipzade Celal
Kapının Ardında - 1964-65 - Beyefendi - Wolfgang Borchert
Cimri - 1965-66 - Molière
Hülleci - Parnak - Reşat Nuri Güntekin
Karabulut - Çocuk oyunu - Ressam
Rüzgâr Esince
Umudunu Yitirme - 1994 - Akimopulos - Salih Kalyon Tiyatrosu
Çürük Temel - 1995 - Émile Fabre, Çeviren: Hüseyin Suat - İstanbul Şehir Tiyatroları - Okuma Tiyatrosu - Yöneten: Zihni Küçümen
Huzur - 1997 - Ahmet Hamdi Tanpınar - İstanbul Şehir Tiyatroları - Oyunlaştıran & Yöneten: Kenan Işık

Filmografisi
 Cici Berber - 1933 - Patavanya Sefiri - Rejisör: Muhsin Ertuğrul
 Fena Yol/O Kakos Dhromos - 1933 - Rejisör: Muhsin Ertuğrul
 Söz Bir Allah Bir - 1933 - Rejisör: Muhsin Ertuğrul
 Milyon Avcıları - 1934 - Rejisör: Muhsin Ertuğrul
 Akasya Palas - 1940 - Kamil - Rejisör: Muhsin Ertuğrul
 Şehvet Kurbanı - 1940 - Mezarcı - Rejisör: Muhsin Ertuğrul
 Hürriyet Apartmanı - 1944 - Müzik hocası - Rejisör: Talat Artemel
Yayla Kartalı - 1945 - Rejisör: Muhsin Ertuğrul
 Domaniç Yolcusu / Unutulan Sır - 1946 - Rejisör: Şakir Sırmalı
 Efsuncu Baba - 1949 - Rejisör: Aydın Arakon
 Akdeniz Korsanları - 1950 - Rejisör: Kadri Ögelman
 İstanbul Kan Ağlarken/Hrisantos - 1951 - Rejisör: Kâni Kıpçak
 Adak Tepe - 1952 - Rejisör: Kadri Ögelman
 Edi İle Büdü Tiyatrocu - 1952 - Tiyatro Müdürü - Rejisör: Şadan Kamil
 Soygun - 1953 - Rejisör: Sami Ayanoğlu
Paydos - 1954 - Rejisör: Sami Ayanoğlu
Bozkurt Obası - 1954 - Rejisör: Orhon Murat Arıburnu
 Kadının Fendi - 1955 - Toto - Rejisör: Orhan Erçin
 Sihirli Boru - 1955 - Arşak Palabıyıkyan - Rejisör: Orhon Murat Arıburnu
 Yaprak Dökümü - 1958 - Rejisör: Suavi Tedü
99 Mustafa - 1958 - Mösyö - Rejisör: Sami Ayanoğlu
Yeşil Kurbağalar - 1960 - Rejisör: Sami Ayanoğlu
 Sahte Prens - 1961 - Rejisör: Orhan Ateş
Naylon Leyla - 1961 - Rejisör: Abdurrahman Palay
Bahçevan - 1963 - Rejisör: Nejat Saydam
L'immortelle - 1963 - Rejisör: Alain Robbe-Grillet
America America - 1963 - Rejisör: Elia Kazan
 Hep O Şarkı - 1965 - Rejisör: Atıf Yılmaz
 Koca Yusuf - 1966 - Rejisör: Çetin Karamanbey
Çalıkuşu - 1966 - Rejisör: Osman F. Seden
Yaprak Dökümü - 1967 - Rejisör: Memduh Ün
Yeşil Kurbağalar - 1970 - Rejisör: T. Fikret Uçak
Fakir Aşıkların Romanı - 1971 - Rejisör: Osman F. Seden
 Acele Koca Aranıyor - 1975 - Rejisör: Muzaffer Arslan
Beş Milyoncuk Borç Verir Misin - 1975 - Rejisör: Osman F. Seden
Aman Karım Duymasın - 1976 - Rejisör: Mehmet Dinler
Sarhoş - 1977 - Rejisör: Sırrı Gültekin
 Gülünüz Güldürünüz - Yarışma programı - 1977
Sizin Dersane - TV dizisi - 1980
Balaban Ağa - TV dizisi - 1980
Kurtuluş - TV dizisi - 1994 - Rejisör: Ziya Öztan
Orhon Murat Arıburnu belgeseli - 1994 - Rejisör: Serdar Pehlivanoğlu
 Eşkıya - 1996 - Andrey Mişkin - Rejisör: Yavuz Turgul
 Hamam - 1997 - Rejisör: Ferzan Özpetek
 Mektup - 1997 - Onat usta - Rejisör: Ali Özgentürk
 Canlı Hayat - TV filmi - 2000 - Rejisör: Ümit Efekan

Yazdığı film senaryoları
 Aynaroz Kadısı - 1938 - Musahipzade Celal'in oyunundan senaryolaştırdı - Rejisör: Muhsin Ertuğrul
 Bir Kavuk Devrildi - 1939 - Musahipzade Celal'in oyunundan senaryolaştırdı - Rejisör: Muhsin Ertuğrul
 Akasya Palas - 1940 - Georges Feydeau'nun oyunundan Mahmut Yesari'nin uyarlamasını senaryolaştırdı - Rejisör: Muhsin Ertuğrul
Yayla Kartalı - 1945 - Faruk Nafiz Çamlıbel'in oyunundan senaryolaştırdı - Rejisör: Muhsin Ertuğrul

Reji asistanlığı yaptığı filmler

 Söz Bir Allah Bir - 1933 - Rejisör: Muhsin Ertuğrul
 Milyon Avcıları - 1934 - Rejisör: Muhsin Ertuğrul
 Aysel Bataklı Damın Kızı - 1934 - Rejisör: Muhsin Ertuğrul
 Aynaroz Kadısı - 1938 - Rejisör: Muhsin Ertuğrul
 Bir Kavuk Devrildi - 1939 - Rejisör: Muhsin Ertuğrul
 Allahın Cenneti - 1939 - Rejisör: Muhsin Ertuğrul
 Tosun Paşa - 1939 - Rejisör: Muhsin Ertuğrul
 Akasya Palas - 1940 - Rejisör: Muhsin Ertuğrul
 Şehvet Kurbanı - 1940 - Rejisör: Muhsin Ertuğrul
Nasrettin Hoca Düğünde - 1940 - Rejisör: Muhsin Ertuğrul
 Kahveci Güzeli - 1941 - Rejisör: Muhsin Ertuğrul
 Kıskanç - 1942 - Rejisör: Muhsin Ertuğrul
 Yayla Kartalı - 1945 - Rejisör: Muhsin Ertuğrul
 Kızılırmak Karakoyun - 1946 - Rejisör: Muhsin Ertuğrul

Dış bağlantılar

 Necdet Mahfi Ayral , Sabah gazetesi
necdet mahfi ayral, ekşi sözlük
Necdet Mahfi Ayral , TSA

Kaynakça

1908 doğumlular
2004 yılında ölenler
Türk erkek sinema oyuncuları
Türk erkek tiyatro oyuncuları
Türk erkek seslendirme sanatçıları
Zincirlikuyu Mezarlığı'na defnedilenler
İstanbul doğumlu erkek oyuncular
İstanbul'da ölenler
İstanbul Şehir Tiyatroları sanatçıları
Galatasaray Lisesinde öğrenim görenler

Necdet Mahfi Ayral


Cristian Roberto Aracena (Mendoza, Argentina; 8 de febrero de 1987) es un futbolista argentino. Juega de arquero y su equipo actual es el Club Almagro que disputa la Primera Nacional.

Clubes

Enlaces externos
 BDFA - Ficha del Jugador

Futbolistas de las inferiores del Club Deportivo Godoy Cruz Antonio Tomba
Futbolistas del Club Deportivo Godoy Cruz Antonio Tomba
Futbolistas del Club Sportivo Independiente Rivadavia
Futbolistas del Club Deportivo Maipú
Futbolistas del Club Atlético Gimnasia y Esgrima (Mendoza)
Futbolistas del Club Deportivo y Social Guaymallén
Futbolistas del Gutiérrez Sport Club
Guardametas de fútbol de Argentina

Cristian Aracena


حوض الديسي، أو حوض مياه الديسة، حوض مياه أردني ضخم يقع جنوب الأردن بالقرب من الحدود السعودية على بعد 325 كيلومترا جنوب عمّان. يبدأ الحوض حوالي 500 متر تحت سطح الأرض ويسحب منه 90 مليون متر مكعب من المياه سنوياً عبر أنابيب بقطر 1 متر نحو عمان والعقبة، حيث تكون حصة عمان 75 مليون متر مكعب والعقبة 15 مليون متر مكعب.

مشروع جر مياه الديسي

قام الأردن في أول شهر أغسطس 2008 بالبدء بمشروع جر مياه هذا الحوض - العائد إلى 300 ألف سنة، إلى عمّان وعلى مدى ثلاث سنوات، حيث يزود الآن العاصمة وبعض المدن الأردنية الأخرى بكمية 90 مليون متر مكعب سنويا من المياه، ونفذت المشروع شركة تركية متخصصة هي شركة غاما انيرجي. ويعتبر بعض المسؤولين والمتخصصين في الأردن أن مشروع جر المياه من الديسي إلى عمان ليس سوى حل مؤقت.

يشار إلى أن الأردن البالغ عدد سكانه نحو ١١ مليون نسمة مع زيادة سكانية سنوية بمعدل 5,3% يعتبر من أكثر عشر دول في العالم افتقاراً للمياه ويعتمد على الأمطار لسد حاجاته. ويحتاج الأردن الذي تغطي الصحارى 92% من أراضيه 900 مليون متر مكعب من المياه حالياً. ويتوقع أن ترتفع هذه الاحتياجات إلى 1600 مليون متر مكعب في عام 2015.

انظر أيضا
 صورة جوية لحوض الديسي من ويكي مابيا

مصادر
 موقع msn العربي

جغرافيا الأردن

حوض الديسي


سديروت أو اسديروت: مدينة إسرائيلية تقع شمال قطاع غزة. وقد تعرضت للكثير من الصواريخ الفلسطينية في إطار حق الرد على الاعتداءات من الجانب الإسرائيلي على قطاع غزة وحركة حماس.

بُنيت سديروت على أراضي بلدة «النجد» الفلسطينية المُهجّرة.

في المستوطنة أهم مواقع مصانع نستله في إسرائيل.

كما توجد في المستوطنة أحد أنظمة الليزر عالي الطاقة التي تعمل على إسقاط صواريخ قسام الموجّهة إليها، وهي من صناعة شركة إسرائيلية تنتج رادار للإنذار. ويصيب النظام في نحو 80% من القذائف. وبين انطلاق صفارات الإنذار ووصول الصاروخ الفلسطيني لا تبقى سوى نحو 15 ثانية لكي يختبئ المرء في أحد المخابئ.

أعلام
 كوبي أوز
 هاغيت ياسو

مراجع

الحرب على غزة
المنطقة الجنوبية (إسرائيل)
أماكن مأهولة أسست في 1951
تأسيسات سنة 1951 في إسرائيل
ضحايا إسرائيليين في الانتفاضة الفلسطينية الثانية
عوتيف غزة
مدن التنمية
مدن إسرائيل
مدن في المنطقة الجنوبية (إسرائيل)
مستوطنات إسرائيلية
غلاف غزة

سديروت


Un Initial Coin Offering (ICO) (din eng. "ofertă inițială de monede") este un tip de crowdfunding ce folosește criptomonede pentru atragerea de capital inițial de către startup-uri. Într-un ICO, o cantitate de criptomonede, denumite colocvial și "jetoane" (eng. token-uri), este vândută inițial investitorilor, în schimbul banilor cash sau a altor criptomonede, cum ar fi Bitcoin sau Ethereum. Aceste jetoane sunt promovate ca viitoarele criptomonede dacă obiectivul ICO-ului este atins și proiectul este lansat. În ultimii ani, multe ICO-uri au fost predispuse la escrocherii și încercări de încălcare ale legii.

ICO-urile oferă un mijloc prin care startup-urile evită anumite costuri și reglementări, precum și intermediari precum bănci, fonduri de investiții sau burse de valori, dar prezintă în consecință un risc crescut pentru investitori. ICO-urile pot cădea în afara reglementărilor existente, și în funcție de natura proiectului, pot fi chiar interzise în unele țări precum China sau Coreea de Sud.

Aproape jumătate din ICO-urile ce au avut loc în 2017 nu a reușit până în februarie 2018.

Istorie
Primul ICO, prin oferirea de "jetoane" electronice, a fost organizat de Mastercoin în iulie 2013. Ethereum a orgnaizat un ICO în 2014 și a reușit să strângă o sumă de 3.700 bitcoin în primele 12 ore, egală cu aproximativ 2,3 milioane de dolari la momentul respectiv. Un alt ICO a fost organizat de către Karmacoin în aprilie 2014, pentru proiectul Karmashares.

Până la sfârșitul anului 2017, ICO-urile au adunat de aproape 40 de ori mai mult capital decât în 2016, deși această sumă reprezintă mai puțin de doi la sută din capitalul total al ofertelor publice inițiale. Potrivit ziarului Cointelegraph, companiile au adunat aproximativ 6 miliarde de dolari prin intermediul ICO-urilor în 2017; 37% din această sumă a fost făcută de numai 20 de ICO-uri.
Dintre IPO-urile din 2017, aproximativ 46% picaseră deja până în februarie 2018.

Ethereum este, din februarie 2018, platforma principală pentru ICO-uri cu cotă de piață de peste 80%. Jetoanele sunt în general bazate pe standard-ul Ethereum ERC20. Potrivit Cointelegraph, aproximativ 10% din ICO-urile de pe rețeaua Ethereum au fost scheme de înșelăciune electronică, scheme Ponzi precum și alte escrocherii.

Vezi și
 Criptomonedă
 Ofertă publică inițială
 Ethereum
 Bitcoin
 Blockchain

Note

Criptomonedă
Descentralizare

Initial coin offering


50 m fri for herrer under Sommer-OL 2020 fandt sted den 30. juli til 1. august 2021 i Olympic Aquatics Centre.

Medaljefordeling

Turneringsformat
Konkurrencen bliver afviklet med indledende heats, semifinaler og finale. Efter de indledende heats går de 16 bedste tider videre til semifinalerne, hvor det bliver afgjort hvilke otte tider, der er de bedste. Disse går til finalen, hvor medaljerne bliver fordelt.

Tidsplan
Nedenstående tabel viser tidsplanen for afvikling af konkurrencen:

Alle tider er japansk standard tid (UTC+9)

Resultater

Heats

Semifinaler
Svømmere med de 8 bedste tider, uanset heat, kvalificerede sig til finalen.

Finale

Referencer

Eksterne henvisninger

50 m fri (herrer)

Svømning under sommer-OL 2020 – 50 m fri (herrer)


Exonumia are numismatic items (such as tokens, medals, or scrip) other than coins and paper money. This includes "Good For" tokens, badges, counterstamped coins, elongated coins, encased coins, souvenir medallions, tags, wooden nickels and other similar items.  It is an aspect of numismatics and many coin collectors are also exonumists.

Besides the above strict definition, others extend it to include non-coins which may or may not be legal tenders such as cheques, credit cards and similar paper.  These can also be considered notaphily or scripophily.

Etymology
The noun exonumia is derived from two classical roots: exo, meaning "out-of" in Greek, and nummus, meaning "coin" in Latin (from Greek νοῦμμος – noummos, "coin"); thus, "out[side]-of-[the category]coins". The equivalent British term, paranumismatica, may also be used.

The words exonumist and exonumia were coined in July 1960 by Russell Rulau, a recognized authority and author on the subject, and accepted by Webster's dictionary in 1965.

Token Coins

Many tokens were produced and used as currency in the United States and elsewhere when there was a shortage of government-issued money. Tokens have been used for both to advertise and to facilitate commerce and may or may not have a value.

Token authority Russell Rulau offers a broad definition for exonumia in his 1040 page tome, UNITED STATES TOKENS: 1700–1900  but lines between categories can be fuzzy. For example, an advertising token may also be considered a medal. Good For tokens may also advertise. Counter-stamped coins have been called "little billboards."

One way of parsing tokens is into these three general categories:
 Has a "value," facilitating commerce, such as Good for (something).
 Commemoration, remembrance, dedication, or the like, for some person, place, idea or event.
 Of a personal nature.

Typically, catalogs of tokens are organized by location, time period, and/or type of item. Historically, the need for tokens grew out of the need for currency. In America, some tokens legally circulated alongside or instead of currency. Hard Times Tokens and Civil War tokens each were the size of the contemporary cent. Afterwards, value based items, such as Good for (amount of money), Good for One Quart of Milk, Good for One Beer, Good for One Ride… and others were specifically linked to commerce of the store or place of issue.

Medals

Medals are coin-like artistic objects, typically with a commemorative purpose. They may be awarded for recognition of achievement or created for sale to commemorate individuals or events. They may be souvenirs, devotional, or purely artistic. Medals are generally not used as currency or for exchange.

Exonumia Collecting

Exonumia collectors, like coin collectors, are attentive to condition and rarity, as well as to history, form and type. Exonumists may collect items by region, topic, type, shape or material and this affects the ways tokens are documented.

The following categories are typical. This is not all-inclusive but is a sampling of the wide variety of exonumia.

By type

Modified/Augmented:
Love Token: A coin with hand engraving, generally on one side, or deliberately bent.
Carved Potty coins: usually United States Seated Liberty coinage carved to show lady Liberty sitting on a chamber pot.
Hobo nickels: Initially, hand-engraved Buffalo nickels mostly in the era 1913–38.  Now, applied more generally to hand-engraved coins of different denominations.
Counterstamped/countermarked or chopped coins (done by merchants or governments)
Cut Coins: artistically carved creations made from genuine coins, both new and old, often for jewelry.
Elongated coins: Rolled out with advertising, commemorative, or souvenir designs on one side
Encased Coin: Generally in a ring with advertising
 Colored or painted circulation or bullion issues
Short snorter: paper money signed by people sharing a common experience

Play money / Fantasy / Counterfeit / Art
Play money
Fantasy issue or novelty money (e.g. Promotional fake United States currency, Prop money)
Mardi Gras Doubloons
Counterfeit coins
Money art

Government Services & Non-National tools to Facilitate Commerce
 Jetons: Used as counters when verifying totals or weights of coins for commerce and exchange
 Telephone tokens/Gettoni
 Evasion tokens: 18th century semi-counterfeit were made to look like kind of but not exactly like actual currency
 Local currency, e.g. Ithaca Hours
 Sales tax tokens: Issued by states and merchants
 Dog license tags
 Post office tags
 Food stamps
 Slave tags: see Slave codes

Transportation Tokens
 Ferries and watercraft
 Buses
 Subway
 Trains
 Trams/Trolleys

Closed Community / Membership
 Communion tokens: given to congregation members to permit them to participate in Holy Communion)
 Company scrip
 Ingle Credit System script
 Lumber
 Mining
 Civilian Conservation Corps (CCC)
 College Currency
 Challenge coins
 Fraternal
 Masonic
 Elks
 Moose
 Woodmen of the World
 Geocoins used in geocaching
 Leper colony money
 Military Store and Entertainment
 Plantation
 Picker tokens for crops
 Prison and Correctional/Asylums
 Sobriety coin

By material / shapes
 Wooden nickels
 Cardboard or paper
 Hard rubber or ebonite
 Bullion, e.g. non-legal tender silver rounds

Movements and ideals
 Temperance
 Anti-slavery
 Religious (including temple tokens)
 Political tokens, e.g. Bryan Money

Of a Personal nature – Personals
 Key tags (e.g. In case lost return to …)
 Badges
 Company
 Occupation
 Hand-engraved or uniquely counterstamped coins, as pocket pieces
 Watch fobs

By Issuer
Arcade/Amusement tokens
 Apothecary tokens
 Bakery token
 Beer
 Pub/bar/saloon
 Billiards/pool
 Brothel tokens
 Car wash tokens
Casino/Slot tokens/Casino chips
 Cigar/smoke shops
 Coat check
 Disney Dollars
 Fisherman tokens
 Milk/dairy
 Parking tokens: for meters or gates
 Pay toilet tokens
 Peep show
 Railway cheque tokens

Medals
 Politicians, inventors and other notables, e.g. George Washington
 World's fairs or other expositions
 City or state anniversaries
 So-called dollars: medals and souvenirs similar in size to a silver dollar commemorating American historical events such as world's fairs, anniversary celebrations, dedications, battles, public works projects, etc.

Modern items under the exonumia umbrella include:
 Credit cards
 Gift cards: Gift cards have been replacing the giving of cash for events
 Telephone cards
 Music cards

By Region

China
There are many types of Chinese exonumia, including alternative currencies:
 Bamboo tally
 Token

and numismatic charms:
 Buddhist coin charm
 Burial money
 Confucian coin charm
 Horse coin
 Hell money
 Lei Ting curse charm
 Marriage coin charm
 Open-work charm
 Vault protector coin
 Taoist coin charm
 Zhengde Tongbao

Germany
Notgeld, primarily in the form of paper banknotes, was issued in Germany and Austria during World War I and the interwar period by towns, banks and other institutions due to a shortage of money.

Latin America
Latin American coffee or plantation tokens were an important part of commerce. Many plantation owners had their own commissaries and workers used plantation tokens to pay for provisions. Many tokens were made in the United States or Europe. Plantation tokens had an array of denominations and names. The name can be the owner, their relatives or the name of the farm (or finca). Tokens had allegorical symbols to identify the owner. Tokens were used as currency when there was not enough official currency available. Workers could convert the tokens to official currency on Saturdays.

Tokens were made in all types of base metals and alloys plus plastic, celluloid and bakelite. Unique to Costa Rica were tokens made of paper (paper chits). The word "boleto" is used in Costa Rica for the word token whereas "ficha" is used in the rest of Latin America.

United Kingdom
Conder tokens were privately minted tokens
from the later part of the 18th century and the early part of the 19th century in England, Anglesey and Wales, Scotland, and Ireland.

United States

Rulau  breaks down American tokens into these general time periods:
 Early American
 Hard times tokens were made during the "hard times" after President Andrew Jackson shut down the Second Bank of the United States. These tokens were issued privately to circulate in the local economy as a one cent coin. They had a wide variety of subject matter, including advertising and political/satirical themes (anti-slavery, anti-Jackson).
 Civil War tokens were made between 1861 and 1864 due to the scarcity of government-issued cents during the American Civil War. Encased postage stamps were also used for this purpose.
 Merchant (including modern gas tokens, ex: Shell tokens)

 Trade tokens
 Gay 90s

See also

 Coin
 Currency
 Numismatics
 Token coins
 Scrip
 Paraphilately
 Phaleristics

References

Further reading
 Collecting U.S. Tokens: Challenges and Rewards, R. Leonard, Chicago Coin Club
 Trade Token Tales, an educational website on trade tokens
 PlantageGeld, Plantation tokens, mainly Netherlands East Indies, British North Borneo and Ceylon (in Dutch)

External links

 Token And Medal Society
 Civil War Token Society
Richard's Token Database Searchable database for Good For's and other items

Exonumia


Théodule-Armand Ribot (født 18. december 1839 i Guingamp, død 9. december 1916 i Paris) var en fransk filosof.

Ribot studerede ved den højere normalskole i Paris 1862—66, var 1866—72 lærer i filosofi ved forskellige colleger, kastede sig senere udelukkende over biologisk-psykologiske studier. I 1876 begyndte han udgivelsen af Revue philosophique, 1885 blev han ekstraordinær professor i psykologi ved Sorbonne, 1888 ordentlig professor i sammenlignende eksperimental psykologi ved Collège de France. Hans litterære arbejder, der er let læselige, åndrige og overfladiske, er alle udkomne i talrige oplag; de vigtigste er: La psychologie anglaise contemporaine (1870), L'hérédité, étude psychologique (1873, dansk oversættelse 1899), La philosophie de Schopenhauer (1874), La psychologie allemande contemporaine (1879), Les maladies de la mémoire (1881, dansk oversættelse. 1892), Les maladies de la volonté (1882), Les maladies de la personnalité (1885, dansk oversættelse 1890), La psychologie de l'attention (1888), La psychologie des sentiments (1896), L'évolution des idées générales (1897), Essai sur l'imagination créatrice (1900), La logique des sentiments (1905), Essai sur les passions (1907), Problèmes de Psychologie affective (1909), La vie inconsciente et les mouvements (1914).

Kilder

Filosoffer fra Frankrig
Psykologer fra Frankrig
Faglitterære forfattere fra Frankrig
Fransksprogede forfattere
Franskmænd i 1800-tallet
Franskmænd i 1900-tallet

Théodule Ribot (psykolog)


حسوة: إحدى مراكز محافظة رجال ألمع. تقع في جنوب غرب المحافظة على مسافة 20 كيلاً، ويقطنها 6132 نسمة.

المراجع

منطقة عسير

حسوة


البابلي هو لقب، نسبة إلى بابل أو قرية بابل المصرية، وممن حمل هذا اللقب:

 عطارد بن محمد البابلي البغدادي (ت. 206 هـ / 821 م)
 شمس الدين البابلي (1000 - 1077 هـ / 1591 - 1666 م)
 محمد البابلي (1313 - 1368 هـ / 1895 - 1949 م)

البابلي (توضيح)


Clan je bio zagrebački funky sastav koji su činili Miroslav Papić (truba), Boris Žilih (saksofon), Jaroslav Kubiček (klavir, vokal), Davor Črnigoj (bas), Boris Šoštar (gitara), Silvestar Dragoje (bubnjevi) i Rade Ružanović (konge). Sastav je svirao jazz-rock i bili su pratnja Josipi Lisac. Njenim odlaskom u SAD okreću se funku i 1978. snimaju svoj jedini album Motor hoću mama. U Clanu je jedno vrijeme svirao i Rajko Dujmić.

Diskografija

Singlovi
 "Ne optužuj me" / "Kiša" (1973.)
 "Suzuki 750 GT A" / "Mrve ljubavi" (1978.)

Studijski albumi
 Motor hoću mama (PGP RTB 1978.)

Izvori

Zagrebački glazbeni sastavi

Clan


Esther Schop (født 22. Januar 1990 i Alkmaar, Holland) er en hollandsk håndboldspiller, der spiller for Nantes Loire Atlantique Handball og Hollands håndboldlandshold.

Referencer

Håndboldspillere fra Nederlandene

Esther Schop


Der Nordmazedonische Eishockeyverband (Macedonian Ice Hockey Federation) ist der nationale Eishockey- und Inlinehockeyverband Nordmazedoniens, der seinen Sitz in Skopje hat.

Geschichte
Der Verband wurde am 4. Oktober 2001 in die Internationale Eishockey-Föderation (IIHF) aufgenommen. Der Verband gehört zu den assoziierten Mitgliedern der IIHF und hat daher in deren Vollversammlung kein Stimmrecht. Aktueller Präsident ist Nikola Tasev.

Obwohl der Verband 2001 gegründet wurde, nahm er erst 2010 die Geschäfte auf. Im Januar 2011 wurde die erste künstliche Eisfläche in Skopje eröffnet und mit dem HK Skopje der erste mazedonische Eishockeyverein gegründet.

Ihr Präsident ist Nikola Tasev. Nach Angaben der IIHF sind in Mazedonien insgesamt 137 Eishockeyspieler spielberechtigt. Davon sind 86 Männer und 51 Junioren. Für die Austragung von Eishockeyligaspielen der Mazedonischen Eishockeyliga steht eine Eishockeyhalle und drei Eishockeyspielflächen ohne Überdachung zur Verfügung.

Der Verband kümmert sich überwiegend um die Durchführung der Spiele der mazedonischen Nationalmannschaften im Eishockey und Inlinehockey. Zudem organisiert der Verband den Spielbetrieb auf Vereinsebene, der 2012 startete. Zudem nahm die mazedonische Inlinehockey-Nationalmannschaft 2011 das erste Mal an einem IIHF-Turnier teil.

Weblinks
 Mazedonien auf der Website der IIHF (englisch)
 ХОКЕЈ ФЕДЕРАЦИЈА НА МАКЕДОНИЈА bei facebook.com

Eishockeyverband
Eishockey (Nordmazedonien)
Sportverband (Nordmazedonien)
Nationaler Sportverband (Nordmazedonien)
Organisation (Skopje)
Sport (Skopje)

Nordmazedonischer Eishockeyverband


Diese Liste der Generalsuperintendenten in Danzig zeigt die Ämter der geistlichen Leiter für die lutherische und später verwaltungsmäßig unierte evangelische Kirche mit Sitz in Danzig von 1566 bis 1945. Diese wechselte verschiedentlich die Bezeichnung. Auch der Zuständigkeitsbereich veränderte sich, oft im Zusammenhang mit politischen Veränderungen.

Hinweis zu den Amtsbezeichnungen und -bereichen

Mit der Herausbildung der lutherischen Kirche Danzigs bildeten die Prediger der Kirchen ein Kollegialorgan, das geistliches Ministerium (E.E. Geistliches Ministerium der Augsburgischen Confession zu Danzig) genannt wurde, und wählten aus ihrer Mitte einen Senior, der jedoch nur primus inter pares war. Bis 1793 beschränkte sich der Wirkungskreis der geistlichen Leiter auf die Stadt und das Landgebiet der Regia Civitas Gedanensis, der polnischen Königlichen Stadt Danzig. Bis 1807 gehörte Danzig dann zum Königreich Preußen, war bis 1813 als Republik Danzig wieder unabhängig, kam dann aber an die preußische Provinz Westpreußen. Mit der ab 1817 betriebenen Union lutherischer und calvinistischer (reformierter) Kirchengemeinden in einer Verwaltungseinheit, der ab 1821 Evangelische Kirche in Preußen genannten Landeskirche, entstand die Kirchenprovinz Westpreußen.

Die geistliche und administrative Leitung lag nunmehr bei dem 1816 in Danzig eingerichteten Konsistorium, ein westpreußisches Amt des geistlichen Leiters bestand jedoch nicht. Den Vorsitz im Konsistorium führte der Regierungspräsident in Danzig, da es zugleich für die Schulaufsicht zuständig war. Der König berief aber den bisherigen Senior des geistlichen Ministeriums als Konsistorialrat in das neue Konsistorium. Erst 1829 wurde für die Kirchenprovinzen das Amt des Generalsuperintendenten eingerichtet, jedoch wurde 1831 die Kirchenprovinz Westpreußen, wie schon 1829 die politische Provinz, mit derjenigen Ostpreußens zur Kirchenprovinz Preußen zusammengeschlossen. Das Konsistorium in Danzig wurde 1832 aufgehoben und die Zuständigkeit demjenigen in Königsberg in Preußen übertragen. 1830 war die Danziger reformierte St.-Petri-Pauli-Kirche der Landeskirche beigetreten.

1883 wurde ein Generalsuperintendent separat für Westpreußen ernannt, doch bis zur Wiederherstellung der Kirchenprovinz Westpreußen und des Konsistoriums Danzig drei Jahre später, saß dieser in Königsberg in Preußen. Seit 1845 waren die Konsistorien nicht mehr für die Schulaufsicht zuständig (diese oblag dem Provinzialschulkollegium), so dass das Konsistorium Danzig nunmehr eine Einrichtung allein der Landeskirche war.

1920 löste sich die Kirchenprovinz Westpreußen auf. Das Konsistorium Danzig und das Amt des Generalsuperintendenten blieben bestehen, ihre Zuständigkeit beschränkte sich nun aber auf die im Landessynodalverband der Freien Stadt Danzig zusammengeschlossenen protestantischen Kirchengemeinden. Bei Deutschland verbliebene Kirchengemeinden im südwestlichen und östlichen Westpreußen kamen an die neue Kirchenprovinz Grenzmark Posen-Westpreußen bzw. die Kirchenprovinz Ostpreußen. Die Mitgliedsgemeinden im Gebiet der neugeschaffenen Woiwodschaft Pommerellen schlossen sich der Unierten Evangelischen Kirche in Polen an.

1933 stürzten Deutsche Christen in der Danziger Landessynode mit ihrer Mehrheit den Generalsuperintendenten und ernannten einen Nachfolger, nunmehr gemäß Führerprinzip als Bischof, mit Weisungsrecht, tituliert. Nach der deutschen Annexion Danzigs 1939 schuf die altpreußische Landeskirche einen neuen Verwaltungsbereich für die angeschlossenen Kirchengemeinden, das Kirchengebiet Danzig-Westpreußen, territorial identisch mit dem neuen Reichsgau Danzig-Westpreußen. Konsistorium Danzig und der Bischof erhielten für den vergrößerten Amtsbereich die Zuständigkeit. Sie übernahmen die in Pommerellen gelegenen Kirchengemeinden der Unierten Evangelischen Kirche in Polen, die nunmehr als Unierte Evangelische Kirche im Wartheland allein für den Warthegau zuständig war.

Im März 1945 verlegte das Konsistorium Danzig seinen Sitz nach Lübeck, der Bischof floh nach Göttingen. Oberkonsistorialrat Gerhard Gülzow richtete für überlebende Danziger Flüchtlinge und Vertriebene zu Lübeck die Hilfsstelle beim evangelischen Konsistorium Danzig ein. Durch die Flucht, Ermordung und Vertreibung der meisten Protestanten gingen die meisten evangelischen Kirchengemeinden im Kirchengebiet unter, ihr Immobiliarvermögen wurde meist enteignet. Eine geistliche Leitung für einen Amtsbereich protestantischer Kirchengemeinden besteht heute in Danzig nicht mehr, aber in Zoppot, wo die lutherische Diözese Pommern-Großpolen einen Bischofssitz unterhält.

Geistliche Leiter

Senioren des geistlichen Ministeriums zu Danzig
 1566–1590: Johann Kittelius (1519–1590)
 1590–1596: Vakanz, wegen des Streits zwischen Calvinisten und Lutheranern kam es nicht zu einer Besetzung
 1596–1616: Michael Coletus (1545–1616)
 1616–1618: ?
 1618–1643: Johannes Corvinus (alias Johann Rabe), entlassen
 1643–1661: Johann Botsack
 1661–1669: Johann Mankisch (1617–1669)
 1669–1672: ?
 1672–1679: Nathanael Dilger (1604–1679)
 1679–1684: ?
 1684/85–1702:  Andreas Kühn (1624–1702)
 1702–? : Constantin Schütz
 1705–1736: Joachim Weickhmann (1662–1736)
 1737–1748: Carl Joachim Sibeth/Cibeth (1692–1748)
 1748–1750: ?
 1750–1758: Friedrich Wilhelm Kraft (1712–1758)
 1758–1760: Vakanz
 1760–1791: Jonathan Heller (1716–1791)
 1791–1800: Nathanael Friedrich Treuge (1731–1800)
 1801–1827: Karl Friedrich Theodor Bertling (1754–1827), ab 1816 zudem Konsistorialrat in Danzig
 1827–1883: Vakanz

Generalsuperintendenten für Westpreußen
 1883–1892: Emil Heinrich Taube (1819–1892)
 1893–1911: Gustav Adolf Doeblin (1843–1924)
 1911–1920: Wilhelm Reinhard (1860–1922)

Geistliche Leiter des Landessynodalverbandes Danzig
 1920–1934: Paul Friedrich Max Kalweit, Generalsuperintendent (1867–1944)
 1934–1940: Johannes Beermann, Bischof (1878–1958)

Bischof des Kirchengebiets Danzig-Westpreußen
 1940–1945: Johannes Beermann

Literatur
 Heinz Neumeyer: Danzig. In: Theologische Realenzyklopädie (36 Bde.), de Gruyter, Berlin 1997–2007, Bd. 8: "Chlodwig" – "Dionysius Areopagita" (1981), ISBN 3-11-008563-1, pp. 353–357.

Anmerkungen

Senioren
Danzig
Westpreußen
Danzig


Vilmar Ediciones fue una editorial española, ubicada en Barcelona, que publicó varias colecciones de literatura juvenil, cuentos troquelados y tebeos en las décadas de los setenta y ochenta del siglo pasado. Se la adscribe al denominado mercado de la pobreza.

Trayectoria
Vilmar comenzó produciendo revistas de género del oeste, que simultáneo luego con las de terror, producidas al calor del éxito de Dossier Negro (1968) de Ibero Mundial de Ediciones, y bélicas.

Colecciones de tebeos

Referencias

Bibliografía

Enlaces externos
 Editorial Vilmar, "Tercera Fundación"
 Vilmar Ediciones, S. A., "Tebeosfera"

Editoriales de historieta de España

Vilmar Ediciones


Ngalum é a mais populosa das línguas Ok  da família das  línguas trans-nova guineanas da região ocidental da Papua, Indonésia e Papua-Nova Guiné.

Fonologia

Consoantes

 /k/ também pode ser ouvido como [ɡ] na posição medial da palavra.

Vogais

Notas

Ligações externas
Ngalum em Omniglot.com~
 Ngalum em Ethnologue

Ngalum
Ngalum

Língua ngalum


Le centre médical communal Les Flamboyants est un Centre de Santé publique de Conakry. Il est situé dans la commune de Ratoma.

Histoire
Le centre médical communal Les flamboyants, commune de Ratoma, a été construit en 1997 pour abriter le service d'ophtalmologie. Il comprend aussi un service de médecine, une maternité, une pédiatrie, une pharmacie et un laboratoire.

il est un lieu de prise en charge des personnes vivants avec le VIH sida.

Pendant la pandémie il était un centre de prélèvement au Covid-19.

Notes et références

Lien externe

Hôpital en Guinée
Santé à Conakry
Bâtiment à Conakry

CMC Flamboyant


ريني أدلر  من مواليد 15 يناير 1985 في ليبزيغ في ألمانيا ، لاعب كرة قدم ألماني.

يلعب مع نادي باير ليفركوزن منذ عام 2003.إلى 2012

بدأ باللعب مع منتخب ألمانيا لكرة القدم في عام 2008.

روابط خارجية

مراجع

حراس مرمى كرة قدم رجالية
أشخاص على قيد الحياة
ألمان في القرن 21
رياضيون من لايبزيغ
لاعبو الدوري الألماني
لاعبو باير 04 ليفركوزن
لاعبو باير ليفركوزن
لاعبو بطولة أمم أوروبا 2008
لاعبو كرة قدم ألمان
لاعبو كرة قدم من ساكسونيا
لاعبو كرة قدم من لايبزيغ
لاعبو منتخب ألمانيا تحت 21 سنة لكرة القدم
لاعبو منتخب ألمانيا لكرة القدم
لاعبو منتخب ألمانيا لكرة القدم للشباب
لاعبو نادي ماينتس 05
لاعبو هامبورغ
مقالات مع مصادر باللغة الألمانية (de)
مواليد 1985
مواليد في لايبزيغ

رينيه أدلر


O Certificado Digital é um documento eletrônico que garante a autenticidade e a integridade de transações realizadas na internet, permitindo que pessoas e empresas se identifiquem e assinem documentos digitalmente. O Certificado Digital A1 é uma das modalidades disponíveis, sendo emitido e armazenado em um dispositivo como um token USB ou um cartão inteligente. Diferente do Certificado Digital A3, que é emitido em uma mídia física e tem validade de até três anos, o Certificado Digital A1 é gerado em software e tem validade de um ano, podendo ser armazenado em dispositivos móveis como smartphones e tablets.<s*ref></ref>

Utilizações
O Certificado Digital A1 pode ser utilizado em diversas áreas, tais como comércio eletrônico, assinatura de contratos, acesso a sistemas governamentais, emissão de notas fiscais eletrônicas, entre outros. Ele é muito utilizado em setores como o jurídico, contábil, fiscal e de recursos humanos.

Vantagens e desvantagens
Entre as vantagens do Certificado Digital A1 está o fato de que ele é mais acessível e fácil de usar do que outras modalidades de certificado, como o A3. Ele pode ser armazenado em dispositivos móveis e é emitido em software, o que o torna mais prático e econômico para pequenas empresas e profissionais liberais. No entanto, o Certificado Digital A1 apresenta alguns riscos, como a possibilidade de perda ou roubo do dispositivo em que está armazenado, o que pode comprometer a segurança dos dados. Além disso, ele é mais vulnerável a ataques cibernéticos do que outros tipos de certificados.<s*ref></ref>

Proteção
Para mitigar os riscos associados ao Certificado Digital A1, é importante adotar medidas de segurança como manter o sistema operacional e o software de segurança atualizados, fazer backups regulares do certificado, evitar instalar softwares de origem desconhecida e usar senhas fortes e complexas. É também recomendável proteger o dispositivo em que o certificado está armazenado com senha ou criptografia.

Referências

Gestão de chave
Infraestrutura de chave pública

Certificado Digital A1


Šoreja (pentakme, lat. Shorea, sin. Pentacme), rod korisnog drveća iz porodice dipterokarpovki. Postoji 189 priznatih vrsta u tropskoj Aziji, među kojima su poznatije vrste drvo "sal" (S. robusta) i međašno drvo koje se navodi kao važan izvor smole damar koja se koristi u obradbi papira, u mikroskopiji za učvršćivanje trajnih preparata, u farmaciji za priređivanje flastera i u fotografiji. Jedan od naziva za ovo drvo je trgovački naziv ili sinonim Shorea wiesneri.

Opis
Shorea je rod biljaka iz obitelji Dipterocarpaceae, koji se sastoji od oko 360 vrsta visokog južnoazijskog zimzelenog drveća koje je izuzetno vrijedno zbog svoje drvene građe. "Sal" (Shorea robusta) je možda drugo najvažnije drvo (nakon tikovine) na Indijskom potkontinentu. "Sal" i S. talura također se uzgajaju za uzgoj insekata koji proizvode smolu koja se koristi u šelaku. S. macrophylla proizvodi illipe orašaste plodove koji sadrže mast koja se koristi kao zamjena za kakao maslac. Zajedno s nekoliko drugih vrsta, "dumala" (S. oblongifolia), vrlo veliko drvo, daje smolu damar, koja ima različite namjene, uključujući kao lak i tamjan.

Vrste

 Shorea acuminata Dyer
 Shorea acuminatissima Symington
 Shorea acuta P.S.Ashton
 Shorea affinis (Thwaites) P.S.Ashton
 Shorea agami P.S.Ashton
 Shorea albida Symington
 Shorea almon Foxw.
 Shorea altopoensis Pierre
 Shorea alutacea P.S.Ashton
 Shorea amplexicaulis P.S.Ashton
 Shorea andulensis P.S.Ashton
 Shorea angustifolia P.S.Ashton
 Shorea argentifolia Symington
 Shorea asahi P.S.Ashton
 Shorea assamica Dyer
 Shorea astylosa Foxw.
 Shorea atrinervosa Symington
 Shorea bakoensis P.S.Ashton
 Shorea balanocarpoides Symington
 Shorea beccariana Burck
 Shorea bentongensis Foxw.
 Shorea biawak P.S.Ashton
 Shorea blumutensis Foxw.
 Shorea bracteolata Dyer
 Shorea brunnescens P.S.Ashton
 Shorea bullata P.S.Ashton
 Shorea calcicola P.S.Ashton
 Shorea carapae P.S.Ashton
 Shorea chaiana P.S.Ashton
 Shorea ciliata King
 Shorea collaris Slooten
 Shorea collina Ridl.
 Shorea confusa P.S.Ashton
 Shorea congestiflora (Thwaites) P.S.Ashton
 Shorea conica Slooten
 Shorea contorta S.Vidal
 Shorea cordata P.S.Ashton
 Shorea cordifolia (Thwaites) P.S.Ashton
 Shorea coriacea Burck
 Shorea crassa P.S.Ashton
 Shorea curtisii Dyer ex King
 Shorea cuspidata P.S.Ashton
 Shorea dasyphylla Foxw.
 Shorea dealbata Foxw.
 Shorea dispar P.S.Ashton
 Shorea disticha (Thwaites) P.S.Ashton
 Shorea domatiosa P.S.Ashton
 Shorea dyeri Thwaites ex Trimen
 Shorea elliptica Burck
 Shorea exelliptica Meijer
 Shorea faguetiana F.Heim
 Shorea faguetioides P.S.Ashton
 Shorea falcata J.E.Vidal
 Shorea falcifera Dyer ex Brandis
 Shorea falciferoides Foxw.
 Shorea fallax Meijer
 Shorea farinosa C.E.C.Fisch.
 Shorea ferruginea Dyer ex Brandis
 Shorea flaviflora G.H.S.Wood ex P.S.Ashton
 Shorea flemmichii Symington
 Shorea foraminifera P.S.Ashton
 Shorea foxworthyi Symington
 Shorea furfuracea Miq.
 Shorea gardneri (Thwaites) P.S.Ashton
 Shorea geniculata Symington ex P.S.Ashton
 Shorea gibbosa Brandis
 Shorea glauca King
 Shorea gratissima (Wall. ex Kurz) Dyer
 Shorea guiso (Blanco) Blume
 Shorea havilandii Brandis
 Shorea hemsleyana King ex Foxw.
 Shorea henryana Pierre ex Laness.
 Shorea hopeifolia (F.Heim) Symington
 Shorea hulanidda Kosterm.
 Shorea hypochra Hance
 Shorea hypoleuca Meijer
 Shorea iliasii P.S.Ashton
 Shorea inaequilateralis Symington
 Shorea inappendiculata Burck
 Shorea induplicata Slooten
 Shorea isoptera P.S.Ashton
 Shorea javanica Koord. & Valeton
 Shorea johorensis Foxw.
 Shorea kuantanensis P.S.Ashton
 Shorea kudatensis G.H.S.Wood ex Meijer
 Shorea kunstleri King
 Shorea ladiana P.S.Ashton
 Shorea laevis Ridl.
 Shorea lamellata Foxw.
 Shorea laxa Slooten
 Shorea lepidota (Korth.) Blume
 Shorea leprosula Miq.
 Shorea leptoderma Meijer
 Shorea lissophylla Thwaites
 Shorea longiflora (Brandis) Symington
 Shorea longisperma Roxb.
 Shorea lumutensis Symington
 Shorea lunduensis P.S.Ashton
 Shorea macrantha Brandis
 Shorea macrobalanos P.S.Ashton
 Shorea macrophylla (de Vriese) P.S.Ashton
 Shorea macroptera Dyer
 Shorea malibato Foxw.
 Shorea materialis Ridl.
 Shorea maxima (King) Symington
 Shorea maxwelliana King
 Shorea mecistopteryx Ridl.
 Shorea megistophylla P.S.Ashton
 Shorea micans P.S.Ashton
 Shorea monticola P.S.Ashton
 Shorea montigena Slooten
 Shorea mujongensis P.S.Ashton
 Shorea multiflora (Burck) Symington
 Shorea myrionerva Symington ex P.S.Ashton
 Shorea negrosensis Foxw.
 Shorea oblongifolia Thwaites
 Shorea obovoidea Slooten
 Shorea obscura Meijer
 Shorea obtusa Wall. ex Blume
 Shorea ochracea Symington
 Shorea ochrophloia Symington
 Shorea ovalifolia (Thwaites) P.S.Ashton
 Shorea ovalis (Korth.) Blume
 Shorea ovata Dyer ex Brandis
 Shorea pachyphylla Ridl. ex Symington
 Shorea palembanica Miq.
 Shorea pallescens P.S.Ashton
 Shorea pallidifolia P.S.Ashton
 Shorea palosapis (Blanco) Merr.
 Shorea parvifolia Dyer
 Shorea parvistipulata F.Heim
 Shorea patoiensis P.S.Ashton
 Shorea pauciflora King
 Shorea peltata Symington
 Shorea pilosa P.S.Ashton
 Shorea pinanga Scheff.
 Shorea platycarpa F.Heim
 Shorea platyclados Slooten ex Endert
 Shorea polita S.Vidal
 Shorea polyandra P.S.Ashton
 Shorea polysperma (Blanco) Merr.
 Shorea praestans P.S.Ashton
 Shorea pubistyla P.S.Ashton
 Shorea quadrinervis Slooten
 Shorea resinosa Foxw.
 Shorea reticulata Thwaites ex Dyer
 Shorea retinodes Slooten
 Shorea retusa Meijer
 Shorea revoluta P.S.Ashton
 Shorea richetia Symington
 Shorea robusta C.F.Gaertn.
 Shorea rotundifolia P.S.Ashton
 Shorea roxburghii G.Don
 Shorea rubella P.S.Ashton
 Shorea rubra P.S.Ashton
 Shorea rugosa F.Heim
 Shorea sagittata P.S.Ashton
 Shorea scaberrima Burck
 Shorea scabrida Symington
 Shorea scrobiculata Burck
 Shorea selanica (Lam.) Blume
 Shorea seminis (de Vriese) Slooten
 Shorea siamensis Miq.
 Shorea singkawang (Miq.) Burck
 Shorea slootenii P.S.Ashton
 Shorea smithiana Symington
 Shorea splendida (de Vriese) P.S.Ashton
 Shorea squamata (Turcz.) Dyer ex S.Vidal
 Shorea stenoptera Burck
 Shorea stipularis Thwaites
 Shorea subcylindrica Slooten
 Shorea submontana Symington
 Shorea sumatrana (Slooten ex Thorenaar) Desch
 Shorea superba Symington
 Shorea symingtonii G.H.S.Wood
 Shorea tenuiramulosa P.S.Ashton
 Shorea teysmanniana Dyer ex Brandis
 Shorea thorelii Pierre ex Laness.
 Shorea trapezifolia (Thwaites) P.S.Ashton
 Shorea tumbuggaia Roxb.
 Shorea uliginosa Foxw.
 Shorea venulosa G.H.S.Wood ex Meijer
 Shorea virescens Parijs
 Shorea waltonii G.H.S.Wood ex Meijer
 Shorea wangtianshuea Y.K.Yang & J.K.Wu
 Shorea woodii P.S.Ashton
 Shorea worthingtonii P.S.Ashton
 Shorea xanthophylla Symington
 Shorea zeylanica (Thwaites) P.S.Ashton

Izvori

Vanjske poveznice

Dipterokarpovke

Šoreja


Carl Ewers (* 7. Februar 1902 in Recklinghausen; † 10. November 1981) war ein deutscher Jurist und Verwaltungsbeamter.

Leben
Carl Ewers absolvierte von 1921 bis 1922 eine kaufmännische Lehre in Düsseldorf und Münster. Zwei Jahre später nahm er ein Studium der Rechtswissenschaft auf, das er 1926 mit dem Ersten und 1930 mit dem Zweiten Juristischen Staatsexamen abschloss. 1929 promovierte er zum Doktor der Rechte. Nach Beendigung seines Studiums trat er in den Justizdienst ein und war von 1930 bis 1931 als Gerichtsassessor bei den Staatsanwaltschaften in Münster und Hagen tätig. Im Anschluss arbeitete er bis 1941 als Rechtsanwalt beim Amts- und Landgericht Münster. Von 1941 bis 1945 wirkte er als Dezernent und Bevollmächtigter für den Nahverkehr beim Oberpräsidium der Provinz Westfalen mit Sitz in Münster.

Ewers wurde 1945 Verkehrsdezernent im Regierungsbezirk Arnsberg und fungierte von 1945 bis 1946 als Regierungsdirektor beim Generalreferat Wirtschaft im Oberpräsidium Münster. Im August 1946 wechselte er als Ministerialdirektor ins Wirtschaftsministerium des Landes Nordrhein-Westfalen. Von Oktober 1950 bis zu seinem Eintritt in den Ruhestand 1967 war er zunächst als Ministerialdirektor, ab 1953 dann als Staatssekretär, stellvertretender Leiter der Obersten Landesbehörde Ministerium für Wirtschaft und Verkehr, die 1958 in Ministerium für Wirtschaft, Mittelstand und Verkehr umbenannt wurde. Als solcher befasste Ewers sich unter anderem mit Fragen zur Organisation der Kölner Messe.

Er war Mitglied der katholischen Studentenverbindungen A.V. Zollern Münster und KDStV Ripuaria Freiburg im Breisgau.

Ehrungen
 1967: Großes Verdienstkreuz mit Stern der Bundesrepublik Deutschland

Siehe auch
 Kabinett Arnold II – Kabinett Arnold III – Kabinett Steinhoff – Kabinett Meyers I – Kabinett Meyers II – Kabinett Meyers III – Kabinett Kühn I

Weblinks
 Kabinettsprotokolle der Landesregierung von Nordrhein-Westfalen

Staatssekretär (Nordrhein-Westfalen)
Verwaltungsjurist
Träger des Großen Bundesverdienstkreuzes mit Stern
Korporierter im CV
Person (Recklinghausen)
Deutscher
Geboren 1902
Gestorben 1981
Mann

Carl Ewers (Verwaltungsbeamter)


Zeytun,
 Quanzhou şehrinin Arapça'dan yayılan eski adı.
 Zeytin (Bir bitki adı)
 Zeytun İsyanları, Ermeni örgütlerce çıkarılan isyanlar
 Süleymanlı, Kahramanmaraş (Kahramanmaraş'ın Süleymanlı bucağının eski adı)

Zeytun


Charles Markwood "Charley" Eckman jr. (nacido el  en Baltimore (Maryland) y fallecido en la misma ciudad el ) fue un entrenador, árbitro y comentarista de baloncesto estadounidense que dirigió durante cuatro temporadas equipos en la NBA y ejerció como árbitro durante 29 años.

Trayectoria deportiva

Entrenador
A los 32 años, en , fue contratado como entrenador de los Fort Wayne Pistons de la NBA sin haber dirigido con anterioridad a ningún otro equipo. Y en su primera temporada llevó al equipo a disputar las Finales, cayendo en el séptimo y definitivo partido ante Syracuse Nationals. Ese año además fue elegido entrenador de la Conferencia Oeste en el All-Star Game.

El año siguiente la historia se repitió. Eckman volvió a llevar a su equipo a disputar las Finales, en las que cayeron ante Philadelphia Warriors, y nuevamente dirigió a la Conferencia Oeste en el All-Star Game, logrando en esta ocasión la victoria.

Dirigió temporada y media más al equipo, el último año ya como Detroit Pistons, hasta ser cortado tras los primeros 25 partidos, y sustituido por Red Rocha.

Árbitro
Su carrera en el arbitraje comienza con anterioridad a la de entrenador. En 1947 comenzó su andadura en el ámbito profesional pitando partidos de la BAA, logrando el status de profesional en 1950, siendo elegido ese año por una publicación especializada como el número 1. En 1951 fue uno de los dos árbitros que dirigieron el All-Star Game de la NBA.

Tras su paso por los banquillos, regresó al arbitraje en 1964, pitando en la Atlantic Coast Conference de la NCAA, la liga universitaria, donde permaneció durante 8 temporadas.

Referencias

Enlaces externos
 Estadísticas como entrenador
 www.charleyeckman.com
 It's a Very Simple Game: Charley Eckman

Árbitros de la NBA
Entrenadores de la NBA
Entrenadores de los Fort Wayne Pistons
Entrenadores de los Detroit Pistons
Nacidos en Baltimore

Charley Eckman


Udruženje poljskih električara (Stowarzyszenie Elektryków Polskich, SEP) poljska je nevladina organizacija koja ujedinjuje električara poljskog podrijetla iz cijelog svijeta. Zbog formule otvorenog članstva okuplja inženjere i tehničare te mlade studente (učenike tehničkih i strukovnih škola) iz široko definiranog područja elektrotehnike.

Aktivnosti
SEP se uglavnom bavi popularizacijom i obrazovnim aktivnostima (osposobljavanje za stjecanje dozvole za rad električne opreme). Također se bavi ocjenjivanjem sukladnosti niskonaponskih električnih proizvoda (od 1933.) putem ureda za ispitivanje kvalitete SEP-a koji ima nacionalne akreditacije i priznanja najprestižnijih europskih i međunarodnih organizacija. Pod engleskim imenom "Association of Polish Electrical Engineers" također ostvaruje opsežnu međunarodnu suradnju. Članica je Nacionalnog udruženja znanstvenih i tehničkih udruga u Poljskoj i europske organizacije EUREL.

Povijest
Od 7. do 9. lipnja 1919. održan je kongres na kojem je osnovano Udruženje poljskih elektrotehničara. Za prvog predsjednika izabran je profesor Mieczysław Pożaryski. 1928. organizacija se spojila s Udruženjem poljskih radijskih inženjera. 1939. Udruženje poljskih teletehničara pridružilo se udruzi SEP.

Predsjednici SEP-a

 1919. – 1928. – Mieczysław Pożaryski
 1928. – 1929. – Kazimierz Straszewski
 1929. – 1930. – Zygmunt Okoniewski
 1930. – 1931. – Kazimierz Straszewski
 1931. – 1932. – Felicjan Karśnicki
 1932. – 1933. – Tadeusz Czaplicki
 1933. – 1934. – Alfons Kühn
 1934. – 1935. – Jan Obrąpalski
 1935. – 1936. – Alfons Kühn
 1936. – 1937. – Janusz Groszkowski
 1937. – 1938. – Alfons Hoffmann
 1938. – 1939. – Kazimierz Szpotański
 1939. – Antoni Krzyczkowski
 1939. – 1946. – Kazimierz Szpotański
 1946. – 1947. – Kazimierz Straszewski
 1947. – 1949. – Włodzimierz Szumilin
 1949. – 1950. – Stanisław Ignatowicz
 1950. – 1951. – Tadeusz Żarnecki
 1951. – 1952. – Jerzy Lando
 1952. – 1959. – Kazimierz Kolbiński
 1959. – 1961. – Tadeusz Kahl
 1961. – 1981. – Tadeusz Dryzek
 1981. – 1987. – Jacek Szpotański
 1987. – 1990. – Bohdan Paszkowski
 1990. – 1994. – Jacek Szpotański
 1994. – 1998. – Cyprian Brudkowski
 1998. – 2002. – Stanisław Bolkowski
 2002. – 2006. – Stanisław Bolkowski
 2006. – 2014. – Jerzy Barglik
 2014. – 2022. – Piotr Szymczak
 od 2022. – Sławomir Cieślik

Izvori

Znanost i tehnologija u Poljskoj

Udruženje poljskih električara


شلقان إحدى قرى مركز القناطر الخيرية التابع لمحافظة القليوبية بجمهورية مصر العربية.

التاريخ
قرية شلقان من القرى القديمة، حيث وردت باسم «شلقان» في أعمال الشرقية ضمن قرى الروك الصلاحي التي أحصاها ابن مماتي في كتاب قوانين الدواوين، كما وردت في أعمال القليوبية ضمن قرى الروك الناصري التي أحصاها ابن الجيعان في كتاب «التحفة السنية بأسماء البلاد المصرية». وفي العصر العثماني ورد اسمها في التربيع العثماني الذي أجراه الوالي العثماني سليمان باشا الخادم في عصر السلطان العثماني سليمان القانوني ضمن قرى ولاية القليوبية، وفي تاريخ 1228هـ/1813م الذي عدّ قرى مصر بعد المسح الذي قام به محمد علي باشا باسم «شلقان» ضمن قرى مديرية القليوبية.

السكان
بلغ عدد سكان شلقان 22,222 نسمة، حسب الإحصاء الرسمي لعام 2006.

انظر أيضاً
قائمة قرى محافظة القليوبية

مصادر

الوحدة المحلية لقرية شلقان (القناطر الخيرية)

شلقان


كأس كوسافا أو تحديد كوسافا للكبار، هو بطولة سنوية للفرق الكبرى في دول جنوب أفريقيا، نظمها مجلس جنوب أفريقيا لكرة القدم (COSAFA)، وبدأت بعد الحظر الذي نفذ ضد جنوب أفريقيا وبعد تنظيم كأس الأمم الأفريقية لكرة القدم عام 1996. شاركت في البطولة سابقاً فرق من أنغولا، بوتسوانا، جزر القمر، ليسوتو، مدغشقر، ملاوي، موريشيوس، مايوت، موزمبيق، ناميبيا، لا ريونيون، سيشل، جنوب أفريقيا، سوازيلاند، زامبيا، زيمبابوي. فازت كل من زيمبابوي وزامبيا وجنوب أفريقيا بمعظم الألقاب بأربعة انتصارات لكل منها، في حين فازت أنغولا بثلاثة ألقاب.
نظّمت البطولات الأولى حسب مبدأ خروج المغلوب على مدار عدة أشهر. وبتطور المنافسة، تحولت إلى منافسات في بطولات مصغّرة.

البطل

ترتيب الحاصلين على البطولة

إحصائيات عامة

روابط إضافية
 COSAFA Cup at RSSSF

مراجع

منافسات كوسافا

كأس كوسافا


Agrilus gillespiensis é uma espécie de escaravelho perfurador de madeira da família Buprestidae da ordem Coleoptera. É conhecida a sua existência na América do Norte.

Referências

gillespiensis
Coleópteros descritos em 1947

Agrilus gillespiensis


39549 Casals este un asteroid din centura principală de asteroizi.

Descriere
39549 Casals este un asteroid din centura principală de asteroizi. A fost descoperit pe  la Tautenburg de Freimut Börngen. El prezintă o orbită caracterizată de o semiaxă mare de 2,78 ua, o excentricitate de 0,13 și o înclinație de 9,7° în raport cu ecliptica.

Vezi și
 Lista planetelor minore: 39001-40000
 Centura de asteroizi

Referințe

Obiecte astronomice descoperite în 1992
Centura de asteroizi

39549 Casals


An Aponogeton natalensis in uska species han Liliopsida nga ginhulagway ni Daniel Oliver. An Aponogeton natalensis in nahilalakip ha genus nga Aponogeton, ngan familia nga Aponogetonaceae. Ginklasipika han IUCN an species komo diri gud kababarak-an. Waray hini subspecies nga nakalista.

Mga kasarigan

Aponogeton

Aponogeton natalensis


Fusus'ül Hikem (Türkçe: Hikmetlerin Özü), ünlü sufi Muhyiddin İbn Arabi'nin başyapıtıdır. Geleneksel tasavvufi eserlerden farklı metafizik ve teosofik içerikte bir eserdir. Eserde Kur'an'da adı geçen 27 peygamber, hikmetin çeşitli yönlerinin tecessümü olarak ele alınır ve incelenir. Küçük boyutlu olan Fusus'ül Hikem'in pek çok şerhi (izah, açıklama) yapılmıştır. İlk Türkçe şerh Abdullah Bosnevi'ye (ö. Konya, 1644), sonuncusu ise Ahmed Avni Konuk'a (ö.1938) aittir.

Türkçede Fusus
 Günümüz İnsanına Fususu'l-Hikem-Muhyiddîn-i Arabî, Haz. Hamza Kılıç, İnsan Yayınları, İstanbul, 2009.
 Fususu'l-Hikem, çev. Ekrem Demirli, Kabalcı Yayınları, İstanbul, 2006.
 Ebul Ala Afifi, Füsusu'l Hikem Okumaları İçin Anahtar, çev. Ekrem Demirli, İz Yayıncılık, İst.2000
 Fususu'l - Hikem Tercüme ve Şerhi I, Ahmed Avni Konuk, Hazrılayan: Doç. Dr. Selçuk Eraydın I-IV ciltler.
 İbn Arabi'nin Fusus'undaki Anahtar-Kavramlar, Toshihiko Izutsu, Çev: Ahmed Yüksel Özemre, Kaknüs Yayınları

Batı Dillerinde Fusus
 The Bezels of Wisdom, Trans. R.W.J. Austin, Paulist Press; New Ed edition (November 1980)
 Ronald L. Nettler, Sufi Metaphysics and Quranic Prophets: Ibn 'Arabi's Thought and Method in the Fusus al-Hikam, Islamic Texts Society (January 28, 2003)
 Ringstones of Wisdom, Trans. Caner K.Dagli, Great Books of the Islamic World (August 2004)

Ayrıca bakınız
 Muhyiddin İbn Arabi

Dış bağlantılar
 www.ibnarabisociety.org  Ibn Arabi derneğinin sayfası. Sayfada İbn Arabi'nin Nakş el-Fusus ve başka bazı eserlerinin İngilizce çevirisi bulunuyor.
 www.ibn-arabi.com  Anqa Publishing Home Page
 Books by Ibn Arabi Fons Vitae Publishing Ibn Arabi Series
 Fusus'ül Hikem'in İngilizce çevirisi
 Fütuhat-ı Mekkiyye'den seçme bölümler
 Ibn Arabi & Mystical Journey:The Journey to the Lord of Power  John G. Sullivan Department of Philosophy Elon College
 Correspondences between the Sufi Ideas of Ibn Arabi and Physics
 www.hikmetler.com  Ibn Arabi
 www.tavsanli.eu/asliye/fususulhikem.xhtml Asliye Tavşanlı' nın katkılarıyla, orijinal metnin yanı sıra kelimelerinin günümüzdeki anlamlarının derlendiği bir çalışma.

Tasavvuf eserleri
İkiliksizlik
Vahdet-i Vücud

Fusus'ül Hikem


Hronovce este o comună slovacă, aflată în districtul Levice din regiunea Nitra. Localitatea se află la , se întinde pe o suprafață de  și în 2017 număra 1.473 de locuitori.

Istoric
Localitatea Hronovce este atestată documentar din 1256.

Note

Legături externe

Localități din Slovacia

Hronovce


Los austroquiloideos (Austrochiloidea) son una superfamilia de arañas araneomorfas, constituida por dos familias de arañas con ocho ojos:
 Austrochilidae: 3 géneros, 9 especies
 Gradungulidae: 7 géneros, 16 especies

Véase también
 Anexo:Especies de Austrochilidae
 Anexo:Especies de Gradungulidae
 Taxonomía de las arañas

Referencias
 Platnick, Norman I. (2012): The world spider catalog, versión 12.5. American Museum of Natural History.
 Texas A&M University, Department of Entomology - Synopsis of the described Araneae of the World.

Enlaces externos

Austrochiloidea


Rue de la Paix () este o stradă comercială din centrul Parisului. Situată în arondismentul 2 al Parisului, începând de la nord de place Vendôme și terminându-se la Opéra Garnier, ea este cunoscută mai ales pentru magazinele sale de bijuterii, precum magazinul deschis de Cartier în 1898. Charles Frederick Worth a fost primul care a deschis o casă de modă pe rue de la Paix. Multe clădiri de pe această stradă sunt inspirate de aspectul clădirilor particulare din Piața Vendôme.

Istoric
Strada a fost amenajată în anul 1806 începând din place Vendôme la ordinele lui Napoleon I, ca parte a programului napoleonian de a face accesibil centrul zonei Malul Drept pentru suburbiile nedezvoltate din zona de vest și pentru cartierele din zona de nord a Parisului. Amenajarea noii străzi a necesitat demolarea unei vechi mănăstiri capucine. Numită la început Rue Napoléon, numele său a fost schimbat în 1814, după Restaurația Bourbonică, pentru a celebra pacea nou-încheiată.

Transport
Situată în centrul Parisului, strada este acesibilă prin rețeaua publică de:
 metrou: linia 1
 sau de autobuze: 72.

Magazine aflate pe Rue da la Paix
 Louis Aucoc - firma familiei Aucoc din 6 Rue de la Paix a fost înființată în anul 1821
 Duvelleroy este un magazin de evantaie și de produse de marochinărie amenajat pe 15 Rue de la Paix în 1827 de către Jean-Pierre Duvelleroy,
 Cartier - 1898.
 Charles Frederick Worth a fost primul care a deschis o casă de modă pe 7 rue de la Paix, redenumind-o în 1885 "Worth 7, Rue de la Paix".
 Boué Soeurs, o casă de modă activă de la sfârșitul anilor 1890 până la începutul anilor 1950

Rue de la Paix în cultura populară
 Rue de la Paix este cea mai scumpă proprietate din versiunea în limba franceză a jocului Monopoly - echivalentul pentru "Boardwalk" în versiunea americană sau "Mayfair", în versiunea pentru Marea Britanie.
 Datorită acestui fapt, Rue de la Paix este menționată de cântăreața franceză Zazie în piesa muzicală cu același nume, în care compară societățile bazate pe consumerism cu un joc de Monopoly.
 Rue de la Paix este menționată de Rhett Butler în romanul Pe aripile vântului de Margaret Mitchell ca locul de unde a fost cumpărată boneta verde care urma să o scoată pe Scarlett O'Hara din starea de doliu.

Referințe

Legături externe

Străzi din Paris
Arondismentul 2 din Paris

Rue de la Paix, Paris


Henry Vaughan (d. 17 Nisan 1622 - ö. 28 Nisan 1695), Galli şair.

1622 yılında Newton Saint Briget, Brecknockshire'da doğdu. Önce din dışı şiirler yazdı: 1647'de tamamladığı Olor Iscanus (Usk Irmağı Kuğusu). Sonra George Herbert'i taklit etti ve dinî şiire yöneldi: Silex Scintillans (Çakmaktaşı Kıvılcımları, 1650). Dinî ilhamı tabiat şiiriyle bağdaştırmayı başardı. 1695 yılında Scethrog'da öldü.

1622 doğumlular
Galler doğumlular
1695 yılında ölenler
17. yüzyıl hekimleri
Galli şairler
Galli hekimler
Jesus College, Oxford'da öğrenim görenler
Galler'de ölenler

Henry Vaughan (şair)